Digging through the past….

So it’s been awhile since my last entry, and I wanted to be more consistent. I’ve been deep diving into old material such as audio tapes, and 8mm film. I am fortunate that my dad was a consistent recorder of my mom and his life. I even still have the old 8mm camera he used. It is a wind up camera that still works. It’s funny as much as he did 8mm film I did Super 8 film. I was fortunate to have an uncle who repaired and who worked with cameras, so I’ve worked in Super 8, Single 8 and 16mm. I’ve also gone through a number of 1/4 inch audio tapes that my father would communicate with his sister in Germany. That has been a bit daunting too. First it’s all in German and it takes a bit for me to translate, and if that wasn’t difficult enough I have to contend with listening to the tapes sped up because my father recorded at a low I.P.S (inches per second). He did so so he could put more info on each tape, but I don’t have any recorders that go below 3 3/4 i.p.s. The recorder my father used recorded at 1 7/8 i.p.s, so I can hear the dialogue but it’s sped up. So you can see why between my language problem I also have a tech problem. Yet I manage. I have not found any of my father’s tapes that he sent his sister. I did take every tape I could get when I was in Germany after my father’s death, but so far it’s been elusive. I have some tapes to go through but may be resigned that I may not have any, which has him talking which is bumming me out. I was looking so forward to hearing him. again. But hope springs eternally. The tapes I do have are nothing I really want. I have learned one thing and that his sister was insistent on getting all of us to Germany to the point she would belabor the point. How that must have grated on my father and it reveals why he was so angry or upset. After his sister died things did change, and we became a lot closer, but that was something I did not know, so I have learned something about my dad and feel a bit sorry & guilty for not knowing that. It explains a lot & how it was a factor in my relationship between my dad & I.

My dads old 8mm camera

Getting the money up to transfer the films has been more of a concern right now. There is a whole lot of films that I’ve never seen. Some labeled from the 50’s when my mom & dad were courting. I’ve also begun trying to get my uncle & aunt to talk about those days before I was born. I need to do that sooner than later, and I may drag my oldest son to interview me about growing up & my memories of dad. So it may not be necessary to include the audio tapes. Of course this all costs & as usually life goes on. Bills need to be paid, and it’s hard when you are trying to help our oldest through college. It reminds me of the movie “Mr. Hollands Opus” starring Richard Dreyfuss directed by Stephen Herek. There he is trying to “compose one memorable piece of music to leave his mark on the world”, yet life gets in the way while the years go by. It’s a really good movie and one that hits home. No matter when I see it on I get sucked into the movie & it delivers consistently. We all try to achieve above ourselves, and it’s hard to achieve that when life marches on. The end of the movie is triumphed in a different way because his success is measured by the students he’s touched by showing them his love of music, which becomes their love of music.

Hopefully I’ll get the film transferred soon. Meanwhile my desire to do a short piece of fiction grinds on me as well. The most fun anyone can have is collaborating with fellow artists like actors & seeing what can be accomplished. It’s one thing I walked away with when I made “Deadly Obsessions“. The actors made it better then I could have. The one factor I just wish I had more time to run scenes with the actors. Who knows what better scenes we could have come up with. So there’s that. So trying to write new material is another thing I’m doing. I’ve already knocked down one particular film I’d like to do. Too ambitious for now, but something that may happen later. Meanwhile the wheels still spin and I’m just fighting myself on getting something done with the goal of everything I do is a teaching moment for myself. The more you do the better you get. Don Dohler was a hero of mine & though his films were a bit amateurish I still consider him a wonderful and inspiring filmmaker. He did it for the love of film. He never though about seeking fortune. He was fortunate to get his films distributed because he had product in a time where video cassette was a major distribution point. That and late night TV programs were always hungry for product and he was the guy who had product. Nowadays that’s not the point. There is a lot of content out there, but very little with quality. Dohler’s films had quality and were quaint as well as entertaining.

So the beat goes on. I’m trying to do more than talk. I’ve been involved in many projects throughout my career where we’ve talked to death about a project and nothing comes of it. Sometimes you just have to push on & create. I’ve learned you’ll never have enough money to make that film you want. At this point in my life I’ll be more realistic. You have certain resources and you work with what you have. Also just enjoy the now. I have deep passion for cinema and will continue to do what I do. Hopefully more of us will do more guerrilla filmmaking and maybe we’ll get to be that farm girl from Iowa Francis Ford Coppola talked about awhile ago. A new wave perhaps where old stereotypes go to die and perhaps be reborn. The thing is anything is possible and you just have to continue pushing forward. Maybe when I’m long dead these films will surface and I’ll be considered a genius or just another filmmaking fool. The thing I’ve learned so far in my life is just be true to yourself and do the things that you love. My father did that and he loved being an electrician. He loved fixing things, and in some way I love doing that as well. In a way this film is a walk into the past where I can come to terms with my dad & our relationship. Kind of like therapy. I like old tech and it has a place in the future. Anyway thanks for reading and I appreciate the time. I promise I’ll try and be a bit more current & will post a bit sooner then later. Adios amigos!

Family Stories

I’ve been working for awhile on a memorial video for my mom who passed earlier this year. I had videotaped her looking at photo albums and I recorded her reactions and her thoughts, but those recordings were never used. I’ll explain why. Back in ’96 I filmed my mom using my Arri 16mm BL camera. This is before I made my feature “Deadly Obsessions“. I thought it would be a good exercise to get familiar with the camera while at the same time putting my mom on film for posterity. I had no idea on how or when I would use this in the future. I even recorded our first Thanksgiving dinner with the family in our small apartment in New York. It was fun and I was trying to do the things that I was taught in film school at Brooklyn College. I bought the Arri BL to force myself into using it. I did, and it was a good idea, but hard and a bit of a pricey experience. There were some problems, but since it was a test run to get me more familiar with the camera I managed to get image and sound. Just a small amount of footage was unusable, but the sound was good. It will always astound me that future generations will never know the butterflies you get when you load film in a changing bag, and the then wait to see your dailies from the lab. In a pure digital realm there are other problems of course like corrupt drives, but loading a film magazine in a changing bag can be a sweaty and nerve wrecking experience. As they say. Practice, practice, and PRACTICE!

I had hoped to make a film about my dad who passed in the mid 90’s. I needed to learn about those early days and since I did not have an interview with my dad on video or film. I would have to rely on people who knew him. My mom was that person. That was the plan, but as usual life got in the way and the film became more about my mom, and how she met my dad and how she grew up after losing her father and then mother. I was glad to have the footage and it is in the majority of the film. I had the footage transferred to VHS and digitized that footage for the film. This was way before digital media, and so I figured this was the better way to see how well I had done. Back when I did the interview hard drives were expensive, and transferring it to digital cost. There is still a bit of a perfectionist in me to have the film transferred to a hard drive now and re-edit the film with better looking footage of her. I may do that just to satisfy the archivist in me, but first I need to find a facility near me that does this or I might just have the lab I originally used to do it. The lab was DuArt films in New York. I’ve used them since I was in film school, and they alway did a GREAT job. Another lab worth noting is ColorLab down in Maryland. I used ColorLab to strike an answer print for my feature, and their also tops in their field. I’ll see how it goes, but first back to the film. I wanted to get the film done in time for my dad’s and moms anniversary in October. I don’t know why, but I gave myself a deadline and that helped me get the film done. It forced me to focus and find a beginning, middle and an end to the film.

I used Adobe Premiere to edit my mom’s film. I was familiar with the program having used it in the past, but now I had to re-learn it and what better way to do that then having a project to finish. I used tutorials on YouTube and tutorials from Adobe. Adobe has a whole lot of tutorials on their website, and when you subscribe to the service you get a whole host of videos to help you navigate and learn Premiere. To say that I learned a lot is an understatement. I’m still in the process of learning the software and have found out that it does way more then it did when I first used it. I edited for over two months to get the footage in order and scanned many old photos to use in the film.

My only regret is NOT filming more of my mom. The DV footage I shot was of little use. I mostly used them to know where and who were in the photographs. I got a sense of how they went chronologically and that’s how I got to know my mom’s history. To say that the DV footage didn’t have any value is not correct. It gave me a better understanding of my subject. But time is your enemy, and if you think you’ll one day do this yourself I would suggest you to whip out your cell phone and start recording your subject NOW! I was fortunate that I recorded my mom when she had most of her facilities and she remembered a lot of what happened throughout the years. I think I did the best I could do, and have been complimented on the film. I simple named it “Irene” and it felt fitting. I could hear her complain about being made a fuss over, but that’s the point. How many of us know our family members and their story. Our parents were young at one time and it was much different then then it is now. With ever death the stories are lost, and those stories need to be told. Each story is a moment in time and I firmly believe that there is a fabric to life that is woven in these stories. It’s as old as sitting around a campfire and talking about our experiences. It’s only when you zoom out and look at the bigger picture that all those stories make sense finally, and through them we see similarities with one another I find that very fascinating. Were not all that different from one another. Good stories are meant to be told. The more real the better.

I have to confess that I was very inspired by Martin Scorsese’s film “Italian-American”. In the film he talks to his mom and dad about growing up in the old neighborhood. It’s a love letter to his parents and better yet it’s a testimony of the love Scorsese’s parents had for each other. I wish I had done this with my parents. Now days it’s even easier to just film people with your cell phone and not use bulky noisy equipment like 16mm cameras, but you need to take the time to do so, and time is what we don’t have. We think we do but we don’t.

The film hopefully is for future generations to look back at. Everyone loves an origin story & we all have them. We may not be rock stars, or famous actors or actresses but we all know people who did extraordinary things. Raising a family is an accomplishment in itself, and maybe finding common connections with one another helps us understand each other better. Because when we understand and know how people grew up we might just find out we have more in common with each other then we realize. By knowing that we may just start talking to each other instead of shouting at one another. At least that’s my lofty idea. Whether it comes to fruition is anybody’s guess. So without further pontification I’ll just let the work speak for itself. I learned a lot from this exercise, and have an idea on doing one on my father, but that entails digitizing old media and putting myself in front of the camera. It’s an exercise that will be challenging, but worth doing.

The beginning of a feature ….

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After several attempts to make a movie with others I finally went it alone.  Not my most favorite thing to do.  I had always seen myself with a group of renegades making a film that we all thought would be groundbreaking, but alas it was not to be.  So when I decided to make a film I took stock of the resources I had and did my best to come up with a film I’d be proud of.  I had always been a big fan of Joel & Ethan Coen’sBlood Simple“, and I loved the author Jim Thompson who had a bit of notoriety in Hollywood when they decided to make some of his novels such as “After Dark my Sweet” , and “The Grifters” just to name a few.  I had few resources to boot too, so the film had to have limited characters and a bit of a different take on the film noir genre.

I wrote a film that I thought would be interesting, and something unique.  A take on the film “Double Indemnity” starring Fred McMurray and Barbara Stanwyck.  It was a 1944 movie about greed and lust.  It was a favorite of mine, and something I felt I could do.  I would just modernize it for today’s audience.  What I eventually wrote was something I could shoot, and do now.  I had limited funds, and I would be shooting this on 16mm.  It was way before digital video, and the video cameras that existed back in the late 90’s were in no way good enough for the visuals I wanted.  I broke down the script and created a shooting schedule with Movie Magic scheduler.  I had written my script in a program called movie magic screenwriter.  It was an old program that I used way back in the late 80’s.  If I had to give advice go with Final Draft.  I have used Final Draft for a lot of my projects and the program is quite good, but I have also used a program called Celtx.   When I used Celtex it was a stand alone screenwriting program.  The program now is a web based script writing, scheduler, budgeting, and call sheet program.  I highly recommend that you take a look at Celtx if you have multiple collaborators.  The program is quite easy to learn, and has a short learning curve, but whatever you use make sure you have a program that can breakdown the script.  It will save you time, and a lot of headaches.  Remember if you’re limited on funds and who doesn’t these days go with something simple.  Word has a template for scripts and it’s an easy download.  It may not be sleek and intergraded with other software, but it gets the job done.  After all films were made without fancy screenwriting software in the past, so whatever you use don’t apologize for not having the latest and greatest.  In my opinion use something you can all collaborate on . Celtx is subscription based so pay for what you need, but whatever you use remember the key to writing is re-writing, so make sure you get comfortable with whatever program you do use because you’ll be going back to it often.

I can say that making the film went down without a hitch, but I’d be lying.  Finding time to do all this was difficult.  It’s the main reason why the film took so long.  I didn’t have all the money to finish it, but I had enough to start it, and get it to post, so I did.
A mistake?  Maybe, but in filmmaking rules are meant to be broken, and so the only thing I can really say with any certainty is get ready for a wild ride.  If it’s your film be damn sure that you can finish it, and once you start don’t stop.  Stopping is the kiss of death for most projects.  If it isn’t the way you wrote it or envisioned it tough!  Roll with it, and it’ll all work out in the end.  Sometimes there are happy accidents that make the film better.  It’s the magic of filmmaking ladies and gentlemen, and when it happens know that you are experiencing a moment and keep moving because you have a schedule to keep.

Zecrew

When I started this film I first lived in New York.  It wasn’t until I was in Philadelphia that I started to really to hunker down and get the wheels of production moving.  This brings me to keeping it local.  I did not, so I had to find hotels for my actors and some of the crew.  I used two people from my alma mater of Brooklyn College.  I needed a lighting tech / gaffer and then a camera assistant.  I lucked out with the people I got.  Both were hard working and hungry, and they really saved me when things got way too much.  Then there were the actors.  I used SAG/AFTRA actors.  Let me tell you if you really want to make a difference in your production hire union.  They were professional, and high spirited.  I know what you’re thinking I’m a low budget film I can’t afford professionals.    They’ll bust my budget.  SAG/AFTRA has low budget and ultra low budget contracts.  I got a low budget agreement and paid a small stipend to the actors.  If you can’t I understand, but getting and working with professional actors will really make a difference to you and your production.  Not once did the actors NOT know their lines.  Right out of the gate they knew their lines, and blocking the actors for the camera was easy.  Having said this I would have looked around for more local actors around Philadelphia.  It would have been cheaper, but maybe not by much.  So my tip to the fledgling filmmaker is keep it local, and if you need outside talent schedule them in blocks so you don’t pay a fortune in hotel and food disbursements.  It’s mostly common sense, but it was a first for me, and the film became my graduate studies program by default.

Nickgirls

Also if you can DO NOT use your apartment or house as a location.  That being said I did, and I saved on location fee’s, but for 11 days my wife and I along with our kitties lived in a communal environment.  The bed the actors are on in the picture above became the make-up area, and the rest area for cast and crew.   Though I look at it now with nostalgia I have to say that it was 10 to 11 days of chaos.  My wife and I would get up very early in the AM, and she would go to work while the crew and cast assembled.  We shot for three or four days in the apartment.  Moving from room to room. We had a small continental breakfast or we would do a Dunkin’ Donuts run getting fresh bagels in the AM.  We would get assorted cheeses and jams the evening before and we would have liters of coffee or tea. So by this example I have to say that if you shoot in your house or apartment a big tip is to have you’re significant other onboard while shooting.  It’s great when someone has your back, and my wife Phyllis had mine.  She got executive producing credit also.

Irene1

Another thing or tip to the wise.  Get permission for everything.  I did, or I thought I did.  My landlady was cool about me filming, and she was pretty enthused about it.  But it only takes one person to really throw a wrench into your production and in this case it was a neighbor who knew a judge.  Seems some people were upset at seeing beautiful actors running around, and wondered what type of movie I was making.  I had the permits, I had the permissions and release papers, so why the problem?  Here is where the first lesson in of the moral minority comes in.  Not everyone is as open minded as they would have lead you to believe they are.  I got a visit from the police, and then a call from the local film commission here in Philadelphia.  Needless to say I believe my film made them draft a policy of “Code of Conduct” when filming in a Philadelphia neighborhood.   I had done this previously and thought all was copacetic, but it seems one person had a problem, and that’s all it took.  What eventually happened was that I changed locations for the ending of the film.  With the help of crew and cast we worked it all out, and even got a police officer to help us make the neighbors comfortable.  The advantages of being a small production is that we could make the change easier then being a bigger production.   We even got my father-in-law involved who has a brief part in the movie.  He came down from New York and stayed with us and being he was a retired federal police officer, and he acted like a liaison between the local police.  When we did this there were no more problems.  So a BIG tip here boys and girls is to have a police official on set.  He or she is like the muscle of the production.  It shows you’re legit, and everything is kosher.   We had two officers throughout the production and they were the best.  If you can involve the local constabularies into your production do so.  It will save you much grief.   The agita I got was not worth it and it was a distraction that I didn’t need, so remember talk to you’re local officials about your filming plans.  All it takes is one unsatisfied patron to ruin you’re shoot and in a low budget film time away from the production is wasted time.

What I learned most of all is that doing a film isn’t like it was when you were young and naive back in film school.   There are a lot to things to consider and a lot of the production budget gets eaten up by the must have.  Insurance, transportation, housing, and meals can eat at your budget before you even have shoot a frame of your movie. If you shop around and do your homework while at the same time take stock of your resources you may just save money and time, which will help you actually make your movie.

Another approach to low budget filmmaking that I’ve been thinking about would be to consider filming as a collective.  Rick Schmidt the author of: Feature Filmmaking at Used car Prices” once told a group of us that when limited in funds everyone in the film should bring something to the table, and thereby they become an investor in the film.   If the material is exceptionally good people will want to be a part of it, but you still need to sell it.  Bringing talent, locations, equipment, and even food is an investment, and when all players have skin in the game they are incentivized to do their best.  It is your job to make it appealing and something that has a quick turnaround, so as to have everyone not lose time away from paying gigs.

Everyone makes money when the film makes money.  In a way you create an LLC with your production crew and cast.  Thereby creating a collective of artists.  The sole purpose would be to produce this one film.  Just another avenue you may want to explore when you’re doing your guerrilla shot.

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Rebel Without a Crew & Clerks….

The thing that crystalized me into making my own feature was reading the book “Rebel without a Crew” by Robert Rodriquez and the release of “Clerks” directed by Kevin Smith.  I had been trying to get a film together for some time, but I ran into resistance, and non-compliance by some.  So I decided that I had to go my own way and do my own thing.  Others were certainly doing it, and reading Rodriquez’s book was inspiring, and it set my soul on fire.  You would think that after reading so many books on filmmaking I would get inspired.  Rick Schmidt’s books certainly did that, but I wanted to make films of a different nature.  I was always drawn to B movies and I thought I could write something along those lines.  My favorite author was and still is Jim Thompson.  Thompson is the author of such novels as “The Killer inside me“, The Grifters“, “A Hell of a Women” and “The Getaway”.  These are all novels that were turned into films.  Some were successful, but to me it never came close to the true essence of a Thompson novel.  The closest was “The Getaway” with Steve McQueen and Ali McGraw not the remake with Alec Baldwin and Kim Basinger.  Not that I totally disliked the film, but the original was a lot closer to the novel, and it was directed by Sam Peckinpah who got it right.  So I figured I try and write something like that, and it was no surprise that I loved the film “Blood Simple” by the Coen Brothers.  I looked for articles, and interviews when the film “Blood Simple” came out. It was the Coen Brothers I was trying to emulate, yet I did not have the budget they had, so of course my attention was drawn both to Rodriguez and Smith two creators I felt I had something in common with, and that was no money.

Can I say that I saw “Clerks” a total of three times in the theater.  I thought it was brilliant, and I reveled in seeing someone make a Black & white comedy.  Eat your heart out Woody Allen I thought.  I read everything there was on the making of “Clerks”.  I can thank “Moviemaker” magazine for their coverage of the film.  They even printed a budget for the film which again I looked at and studied.  What both movies had was that they were made by people with a passion for moviemaking, and a desire to get it done without any excuses.  It was then that I set off to write, plan and execute my own film.

With the knowledge I acquired I made my film “Deadly Obsessions“.  I started in 1997.  Shot it in 1998, and finished it in 2003.  Took 6 years approximately to finish the film while at the same time I worked at my day job.  When I finished I tried landing it somewhere at a festival, and I had no success.  I can cry “its not what you know, it’s who you know”, but I tried all the  festivals I could think of to no success.  Even got a book about film festivals.  I put it on “without a box” website, and still nothing.  I was a film lost in the wilderness of other films.  By now digital video had exploded and the internet was awash with DV clips, and shorts. Digital video changed the landscape of independent film.  Now there was a avalanche of films that were being submitted to festivals.  I was being lost in the shuffle, and I’m not making any excuses here.  My wife and I did our best to try and get it seen, but it became too expensive after awhile, and other priorities came first.  Number one being my family.

I still am very proud of the film and would like to release it someday online.  The film was available for a short while at Film Baby which closed awhile back.  I would need now to convert it to HD, which is possible, but costly.   I still have hopes that the film will be seen someday as it was meant to be seen, and I even have desires to do more.  What I learned in making my film was tremendous.  The people I met and the people I worked with will be forever etched in my mind.  I so want to use some of them again.  When you work with talented people you want to do it again.  I even believe that I could make a feature for even less then I original made “Deadly Obsessions” for.  But in order to do another feature it would have to be something that would be close to my heart.

All I can say is that if you’re going to go down this road make a movie you can live with for awhile because you’ll be working on it for sometime.  I’m sure you’ll do it on digital video since it’s easier and it looks fantastic, but you’ll still need to have a life, and the bills don’t stop coming so you’ll have the day job.  But pace yourself my friend, and get i done.  However it takes.  Francis Ford Coppola said once to an audience that:

To me, the great hope is that now these little 8mm video recorders and stuff have come out, and some… just people who normally wouldn’t make movies are going to be making them. And you know, suddenly, one day some little fat girl in Ohio is going to be the new Mozart, you know, and make a beautiful film with her little father’s camera recorder. And for once, the so-called professionalism about movies will be destroyed, forever. And it will really become an art form. That’s my opinion.

Francis Ford Coppola

I’ve always loved that quote, and it has fired up my very existence.  I see it in the young boys and girls I teach sometimes, or even in my own children.  There is so much more vision out there.  You are all better then Hollywood because you all have real stories to tell.  With todays technology all things are possible.  That neat little sci-fi epic you have in mind can be done.  I still have dreams and I’m much older now, but still the dreamer with a realist vision.  There is inspiration everywhere, and we all need to break down the walls that separate us and start building bridges.

What I want to do now is make more films.  Hopefully I will be able to.  In the meantime I’ll write, and keep yelling into the wind with the hope that someone else will hear.  Do you’re on thing and keep plugging away.  Enjoy your life, and meet others.  A rich life is a life with many friends and family.  Don’t let Hollywood dictate to you what a success is.  Find inspiration where you can, and don’t let the creative spark fade.

 

A Deadly Obsession….

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My first feature film was shot in 1998 while between jobs.  It was now or never, and my wife and I agreed it was time.  As they say put up or shut-up.  I had placed an add in Backstage for actors, and got a ton of responses.  Culling down all the responses to people I wanted to invite to audition seemed Herculean, but some how I managed to get some actors in for audition.  I rented an audition place in NYC and set a date.   I videotaped everyone who came and was not surprised at the talent that should up.  I finally arrived at who I wanted and contacted them.  What was next was to set a date for the beginning of filming.  One of the hardest things I had to do.  I needed to hire the rest of the crew, and solidify a date to the beginning of filming.

It is one of the most important things you can do.   Set the date.  Make it real.  Make reservations on where cast and crew were staying, contact SAG, and set up a payroll account for all.  After all it’s show business, and filmmaking is a business, so that’s how I went about it.  This is pre-internet days.  Now things are at your finger tips, but back then you had to call people, and get the wheels in motion.  This is where I learned about the business of making a films.  Insurance, permits, catering, lodging, and travel all had to be done.  I know you’re thinking this doesn’t sound like guerrilla filmmaking, and you would be right.  I knew what not to do, and that was try and short shift the talent.  The guys and gals in my cast and crew were paid, and I received a limited low budget agreement from SAG, so I could do a limited theatrical which included film festivals.

I shot for 11 days with a very minimal crew.  I kind of over reached, and should have found others to help, but money dictates all, and hence it was the only way I could go.

Working with the actors was a joy, and my crew went the extra mile.  How did I do this?  I got professionals.  I paid what I could, feed them and housed them.  Simple as that.  My pet peeve in the entertainment industry is the under-cutting of salaries from the crew to the cast.  You get what you pay for, and in this case I got a great bunch of talent for very little.

The downside was that I over-extended myself.  It took me awhile to cut the film together, and do the soundtracks.  By 2003 I had a finished film, and a DVD. I never got it into festivals, and soon ran out of money to continue to do so.  I was content to distribute it myself through a company that has since folded.  It sold several units, but I still have several units leftover.  I did get offered a tentative distribution deal from dubious distributor, but that did not happen because the terms were ridiculous.  I was not going to relinquish my world wide rights in perpetuity for a film I sweated and toiled over for so long.   No regrets though.  It was a great experience, and one I hope to do again.  This time smarter and wiser.

The good thing is that I filmed “Deadly Obsessions” in film.  Though 16mm I can still go into the negative and rescan it for HD.  Maybe someday, or perhaps someone may offer to do that for me for a piece of the pie.  Right now I’m looking at digital downloads on such places as i-tunes, and or Amazon.  It takes money to make money, and right now I’m perfectly fine telling everyone I am a feature film director and producer, and I can point to “Deadly Obsessions” and say we did our best and we are all proud of it.