*Never* invest in a film to make money

To every single person I have ever spoken about film funding ... I have said:

Do not ever (pay to) make a film to make money.

Never.

Make it for the joy of making a film.
Make it to be part of a really great film.
Make it to meet people you've always wanted to meet.
Make it to give yourself a title.
Make it to show the kids in high school who pants'ed you that you are really cool now and hang out with the coolest people.
Make a film to learn about film making.
Make a film to support someone you believe in.
Make a film to support a point of view in which you believe.
Make a film to contribute to humankind.
Make a film to entertain people.

But do not *ever* pay for a film to make money.

You will only lose your money.
You will only get involved in legal crap that sours you on film making.
You will only lose friendships because you're worried and squabbling about who's spending how much on whatever and who gets how much after whatever.
You will only get lost in the mire of production because you won't understand it.
You will only wonder if the candy bar consumed by the first assistant director is necessary.
You will only make the blessing of genuine creativity a curse.
You will only see egos emerge and expand because they're thinking about the money or their credit or their place in the pecking order rather that the film itself.
You will only end up on the losing end of a monolithic system whose personal priorities left with the idea that movies are made to "strike it rich" - which is why there are so many attempts at over bloated budgeted blockbusters, many of which - if not most - are just this side of crap.
You will only end up throwing good money after bad to fix a problem that could have been fixed with professional due diligence from the getgo.

Never make a film for money.

Over the years, I'm proud to say that I've received money from people who took my advice - no one was "ripped off" who had partaken - even modestly - in our little adventures here. Some of them worked brilliantly - others? Not so much.

My current business partner, executive producer and co-owner of Heart Break Productionz is a respected, responsible, experienced, self-made business person who has worked in a physical labor field since he was 12 years young.

Actually, I think he'd refer to himself as a family man first, a business person second. He knows money. He's not afraid of it, impressed by it, intimidated by it or casual with it.

He understands the value of what's really important in life. Perhaps that should be "who" is really important in life.

He spends money but he does not waste it.

He believes that people deserve a living wage and health care. He believes in union protection for workers and negotiates with 31 of them.

He handles the finances, I handle the creative side. And yet - we're on the same page of every decision made on both sides. That's interesting.

For sure - and for a number of reasons too complicated to explain here dealing with federal laws - he won't lose any money on our feature film THE WHOLE TRUTH.

However - because we are only concerned about the quality of our film, the people with whom we work, the script and creative aspects of the production and final outcome; because we understand that money is not our boss - the audience is, we believe our film will find an audience. An audience which will allow us to continue to make good to great films for them. Hopefully, an audience that will watch those films over and over.

We intend to do this for the rest of our lives - and who knows if we'll pass it on.

Interestingly, over the years, I've paid outrageous fees for seminars that supposedly tell people how to "finance films" -- all of which are based on the model that strives to make money for investors. Not a thing is mentioned about the quality of a film.

Films are not a good investment.

Nine out of ten films flop financially.

But people ... good people who are creative and professional .. are the best investment anyone can make.

People - sober, fun, hard-working, dedicated, compassionate and courageous people unafraid of failure - people who have their personal priorities in order, people who seek to continually educate themselves to do better work for personal, spiritual, practical, fulfilling, satisfying reasons far beyond money - are the best renewable resource in the universe.

And, not coincidentally, they are generally the most successful.

Just like my biz partner - of whom I am immensely proud.

OK ... that's my story and I'm sticking with it. Gotta get back to work!

THE WHOLE TRUTH's first signed cast member

Fresh from his role as mafioso kingpin Salvatore Maroni in The Dark Knight, I'm proud - and thrilled - to announce that Academy Award and Golden Globe-nominated Eric Roberts is the first actor officially cast in our Heart Break Productionz' The Whole Truth.

Creatively and personally, Eric is at the top of his game, and will surprise everyone with his performance in our screwball comedy - with a twist!

In fact, you may not even recognize him at first - but his acting will blow you away.

He'll be happy to hear he's a star with audiences of all ages! A teenager we know said she could hardly wait to see Eric in our film! Why? "He's got to be a great actor! He's Emma Roberts' (Nancy Drew) dad!"

OK, OK.

But Emma comes by her talent and work ethic honestly. Believe me when I say that never before -- and probably after -- has he, or will he, portray anyone like the role he's tackling in The Whole Truth.

The Whole Truth executive producer Gary Tucci and producer Larry Estes are equally excited about Eric joining our cast. I can hardly wait to collaborate with this enthusiastic, accomplished artist.

The camera rolls September 22.

Stay tuned for more news as deals are signed, sealed and great actors delivered!

Why Sen. Barack Obama says "the surge" didn't work ..

Despite protestations from Senator John McCain and others in the Bush administration who claim the reason for the reduced violence in Iraq is the so-called surge - the reported addition of 30,000 American troops in Iraq - Obama and many others, especially those living in Iraq, disagree.

The reason I say "reported" is because there is a question about the number of troops that were called back before an additional 30,000 soldiers were deployed or re-deployed or re-re-deployed to bring the number back to its original total.

At any rate, even if there actually were 30,000 additional troops sent to Iraq, at the time of the announced surge, Iraqis became completely fed up with all the violence and threats from Al-Qeda. So it was they who mustered the courage and clout to fight, deter and push Al-Qeda out of their villages.

A reporter on CNN's GPS today said the effect of more American troops was actually minimal. That the reduction of violence was won by Iraqis fired up with the need for self-determination because US forces had minimal impact against Al-Qeda guerrilla fighters. Iraqis had hoped for a more effective assistance and protection from US forces.

But in fact, it was not until US forces came to Iraq that Al-Qeda invaded the country, creating chaos, because Iraq's now deceased tyrannical dictator Saddam Hussein, would not allow them - or any theocratic groups or leaders - in "his" country because they would challenge him and he would not tolerate that.

The private army contracted by the Bush administration, Blackwater, has been blamed for creating more violence and killing more innocent citizens without any accountability (US military members committing crimes can be prosecuted).

Conservatively, more than two hundred thousand innocent Iraqis have been killed, according to independent international humanitarian organizations, since the US military crossed into Iraq more than five years ago.

The International Red Cross reports humanitarian crises in Iraq are as bad as they've continued to be over the past five years - access to sanitation, clean water and health care are all still desperately needed.

Mind you, Vice President Dick Cheney's former employer, Haliburton, has benefited from hundreds of billions of tax and borrowed US dollars worth of contracted work to rebuild the nation. Unfortunately, much of what they've built has had to be re-built or re-re-rebuilt because the construction has been destroyed by war there.

In summary, according to those who are close with Iraqis, they themselves were responsible for significantly cutting back the violence with only minor input from US military forces; more, that the presence of the US military only inspires Al-Qeda to continue to push their way back in - so they want the US to leave.

Edited to add: Of course the reason for the surge to begin with was to lessen violence in order for Iraq's diverse (and warring) leaders to pound out political solutions to curb the civil war and other centuries-long feuds. As of today, little process has been made.

Supporters of the surge proudly point out that "some" political agreement has been made. But at what cost? There is a long, long way to go to put Iraq in the condition the Bush administration would like to see. Iraqi leaders no longer care what Bush wants. They want the US to leave.

As stated by so many Iraqis who survived the massive destruction of their nation - who have no home (millions have been displaced), no job (Haliburton shipped in cheap labor from Indonesia to rebuild the country), witnessed their history destroyed - irreplaceable artifacts decimated and stolen, their family and neighbors slaughtered, the list goes on: "This is liberation?"

Perhaps just as significantly, Iraqi leadership is close with Iran, providing an even greater impetus to ask the US military to leave - going as far as to ask the Americans for a specific plan and "timeline" (or whatever name it's called by whoever uses the term) to leave the nation.

On the other hand, those who are close with McCain, the US military and Bush administration insist that the US military was primarily responsible for the de-escalation of violence created by Al-Qeda and civil war in the nation.

In one sense, this is a story not only about Iraq and the Bush administration, it's about whom you believe to tell you the truth. If you think McCain is telling the truth, he's your guy. If you believe Obama has a better grasp of what really happened and is happening now, he's your man.

One way to discover all points of view and glean substantiated facts about these issues is to read newspapers from other nations (find them here or here) as well as international coverage -- what little there is -- in US news sources. There is also a plethora of books that are well documented surrounding the US action in Iraq.

True love and friendship never end

See for yourself.

http://www.youtube.com/watch?v=adYbFQFXG0U&feature=related

My new movieScope camera acting column features--

Selma Blair, with three very different current films in the mix, including the megahit Hellboy II as well as an upcoming NBC comedy series Kath and Kim, is so disarmingly honest about what she sees as her shortcomings, I found myself encouraging her to give her psyche a break.

Blair says she never thought she would have a camera - film or TV - career because, "I thought I wasn't attractive enough." I assured her in my own, inimitable way, "Really? You are definitely not chopped liver!"

Said she: "I have my moments."

Right. Well, take a look at her photo and I ask you -- what's not gorgeous?

When you read the column, you'll understand why so many good directors and actors love to work with her on such a variety of commercial, independent and television projects.

Kath and Kim is the American version of the hilarious, extremely popular Australian TV series of the same name, based on the dysfunctional relationship between a mother and daughter. Selma portrays Kim, the daughter, whose self-image is inflated to the point of absurdity -- *completely* opposite of the actress herself.

Two gritty, visceral films she recently worked on are examples of her extraordinary range: Lori Petty's The Poker House and Tom Shankland's WΔZ (pronounced: W Delta Zed) are stories of extremely damaged characters -- Selma says she feels more comfortable portraying flawed characters than "normal" people.

"I usually fall flat," she says about her turn at acting roles of "regular folks."

See what I mean?

Anyway, to pimp the movieScope column, I'll just say that she *does* give herself credit for giving good performances as she works with and learns from great directors and superb actors.

But not much.

CP definition of comedy

After discussing this with so many actors, writers and directors, I've decided comedy is:

Sincerity on steroids.

Casting in LA ...

Was a supreme pleasure and a completely wonderful experience.

I had the time of my life.

Casting director Rick Pagano, who is well respected in Hollywood, and his assistant Russell Boast, could not have worked harder or more dilligently - speaking with agents and managers and actors and others involved with the actors' careers. Noted producer Toni Wells-Roth helped us out with camerawork (wow!).

One observation I must mention: there is an extremely serious problem with agents who don't really do their jobs or do them well, and I'm including folks working with "top" agencies.

Several had *no* idea how to contact their clients (wrong emails, phone numbers), or that their clients were currently working, or in some cases made no effort to send the script or even contact their clients requested by Rick for this project. In some cases they made an appointment for their client and then cancelled it because they did not contact the client.

One very well known actor who is a good friend of my producer (actually our casting director and producer know a lot of great actors) said he was never contacted by his agent. When his agent was contacted (who made an "appointment" for his client to meet with us), the agent had *no* idea his client is currently working on a mini-series at an out-of-LA location. He's coming to Seattle to meet with us soon.

In the case of most actors we auditioned or met with (at a certain level of fame/work, meetings are held in lieu of script readings or auditions - though certain very top professionals still ask to read), they are at the top of their game and crazy about our project.

Some sensational actors dropped by to meet even though they knew they weren't right for this project, but know we have several more slated so wanted to get together with us in person. And believe me, we kept careful notes on everyone we saw.

One well known actor with whom we had a meeting said the industry is now run by "second rate" agents who don't do their jobs, don't know how to do their jobs or can't do them very well - and the people suffering are actors - at all levels.

S/he added that the situation is cyclical -- that their incompetence will only be tolerated for so long before there's a big shakeup, when the system will change again.

In some cases, the agents only want big paying deals for their clients so they can make big fees, regardless of the quality of the work.

There are obviously some agents who take their work seriously and do a good job -- they were spoken of just as positively as the others regarded so negatively.

Enough about that.

The very up side is that the actors with whom we interacted were amazing, terrific and top professionals. They worked so hard on the material to bring their characters to life - screwball comedies are the most work of any genre by all concerned.

Each brought something that only they could bring to their character.

They're making my work of selecting the right person for each role incredibly difficult - which means they did a splendid job. The harder my job, the better the cast.

Some of my choices are going to surprise audiences, and quite honestly a couple people (very well known) came in to speak about doing extremely "against type" characters (unlike anything they've ever played before, unlike the persona they appear to be normally or the characters they've played in the past).

One well known actress from a very popular dramatic TV series did her very first comedic performance in her audition for the lead and absolutely WOW'ed us. She did a brilliant job, looked fantastic, and what's so exciting for me is that she loves the script and the role. Very impressive.

I can't tell you how rewarding it was to hear so many of these top pro's tell me how much they loved the script! Most importantly, I couldn't hear a wasted word in the dialogue. Whew.

A good sign is that everyone who read it felt very strongly about the script - they were either head over heels in love with it, or they absolutely hated it! I think those who didn't like it will feel very differently when they see it up on the screen.

Even our producer was pleasantly surprised when actors who understood the script and characters breathed hilarious life into their scenes.

I enjoyed most audition performances so much - extraordinarily talented, skilled artists did such magnifienent interpretations - that the experience was downright heavenly for me. And I let them know it. I'm not one of those directors who holds back her enthusiasm or appreciation.

After all, these are artists who have shared a part of themselves they'll never get back; they worked hard on their audition scenes and deserve credit and praise where it's due.

It's easy to see why these actors are employed as much as they are. They deserve it. I was proud to be in their company.

Mind you, if anyone shows up unprepared or without doing their homework? I also let them know how I feel. But that was not the case, so I was able to shower actors I met with appreciation and affection.

Our producer, Larry Estes, is a former studio executive and lengendary producer in the field of indie films. He is well known and highly regarded by many working actors who came in to say hello - he now lives in the Pacific Northwest. I was proud to be in his company - I could see the admiration and fondness these artists held for him as they hugged and spoke to him warmly about families, kids, the past, pets, work and life in general.

I was treated to some fantastic stories of show biz past and present by Larry along the way. Another highlight of the trip.

Larry and I met over dinner with our estimable editor Stephen Myers (he just found out the Pixar documentary he edited is nominated for an Emmy!), who has worked with classic comedic filmmakers like Carl Reiner. I showed him my shot sheets along with overhead drawings -- floor plans -- of camera placement, character and camera movement.

After scouring my work, Stephen sent me suggestions for insert shots and editing sounds. The very things that make the difference between work well done and excellence.

Thank you to every actor who came by to meet and perform for The Whole Truth (Gabe, I owe you a little stuffed skunk); decisions will be made soon because cameras roll the third week in September.

Interestingly, we set out to cast three lead roles in LA and came back considering actors to fill 6 roles. We'll be meeting with a few more actors here and in Vancouver, B.C. as well.

Next big step after that: local casting in Seattle for another lead role and several supporting roles with Stephen Salamunavich at Complete Casting, which I know will be just as much fun. Every role is written with a scene to steal included.

We'll also be opening a production office, then bringing production folks in the next few weeks.

Crazy Hollywood agents stories ....

Will have to wait for now - but do I have some very interesting tales to tell when our film is in the can about agents whose first duty appears to be their own bottom line, rather than their clients' best interest -- or any interest in them at all.

Fortunately, not all of them are like that, and I'll also share the 4-1-1 about those agents who seem to genuinely care about their clients and their best interest -- or at least tell the truth.

According to jaded long-timers in the industry, these good people are in the minority. Which is why it will be great to write about them.

Obviously, we're going through the casting process in LA for our four lead characters, and I will say this: at least two agents who *said* they showed our script to their clients -- did not. Which cost us time we would have rather spent having their client actually reading the script - or at least know we were free to send it to the next actress on our starring wish list.

We found out by contacting one of the actress's managers, who told us her client is on a self-imposed vacation to spend time with her family; she's not even reading scripts because she doesn't want to be distracted from her husband and kids.

Good for her - we're all for family time. But it would have been nice if her agents told us that's what she's doing instead of pretending to show her the script and telling us she "passed."

See, with indie films, actors don't get paid as much as they do from studio films, but they generally love indies because while they can still get paid *way* more than 90% of the population, indie roles tend to be more demanding or unusual so they get to show off how genuinely talented and skilled they are.

When actors don't get millions, their agents don't get paid mega-megabucks, either. These agents would rather receive nothing, apparently, than take a 5-figure fee from an indie gig for their client, preferring to wait for that six-figure (or seven) paycheck from their client when they arrange a studio project.

If'when I meet their clients .. I'll be sure to share my experience with them.

On the very plus side, information about the script is getting out now so there's "buzz" and we'll be auditioning some super talent next week in person with our sharp LA casting director. I'm looking forward to meeting some terrific, skilled, impressive actors who are looking forward to practicing their art and craft fearlessly in our project.

Screwball comedies like The Whole Truth are a boat load of work for the leading lady and villain; the leading men also face a lot of challenges to nail the roles. But this hard work pays off with appreciative audiences and folks within the industry because insiders know just how much toil and skill are involved to make it all work.

More on the fantastic talent as soon as our full cast is aboard; that goes for our outstanding crew as well.

Meanwhile, I continue the painfully detailed work of creating shot sheets (every picture taken for the film) and overheads (overhead maps - floor plans - of the sets that show where the camera and talent should be placed and move amidst furniture, props, etc).

In LA, I'll also be meeting with our editor to show him everything I have in mind for the shoot so he can make suggestions for specific shots and "coverage" (additional shots that cover the scene to capture specific things I may need working with him in the editing room). I'm pretty thorough, but always open to opinions from such comedy editing veterans as our editor, who has worked with comedy film folks like Carl Reiner and more.

Incredibly he asked to be our editor at indie rates when he was asked to read the script as a favor to our producer.

That is a very good sign.

Love and forgiveness

A close friend and I were discussing love.

Like what is it really.

I said I believe genuine love is an exercise in terminal forgiveness. If I love someone I'm in a state of perpetual forgiveness.

When two people choose to forgive each other for virtually everything that actually does not matter, that's true love.

I'm not talking about the big things - any verbal or emotional abuse or worse can't be tolerated. Even if there is the urge to hang out with that person in the mistaken name of love - nope, it's buh bye. That's not forgiveness, it's masochism.

I'm talking about the little things. The tiny things that can build. The way she chews her gum - the fact that he chews it at all.

You know what I mean. The little things. That build.

A big complaint is directed at people who "suck" their teeth in an effort to clean them without brushing. At first it may sound ... sweet. But for some reason after he moves in with you it becomes so irritating you buy him electric toothbrushes, floss, sonic-spray and more, but he doesn't stop. So that "minor" issue becomes major, when in the great scheme of things it really does not matter - if your mind and emotions are directed on stuff that actually does matter.

Unless you're forgiving. And in a really recognized way. That is, saying out loud or whispering to yourself, "I forgive her for chewing gum, I'd rather be around the sound than not around her at all."

Same with the bazillion of other things that can drive us nuts if we aren't fundamentally interested in being around that person. As in, obviously, you aren't that into him/her.

But in the end it's not about the other person, it's about us.

Why does his/her particular habit grate on our nerves? What does that reflect within us? About us? And why don't we just tell him or her to cut it out?

Do we love that person enough to forgive the little things, knowing that the big things are handled? The respect, the thoughtfulness, the care, the fun, the tenderness, the kindness, the appreciation, the soft place to fall?

Do we love and respect that other person enough to ask for what we need? Does he or she love and respect us enough to hear just how incredibly frustrating our tooth-sucking can be?

Are our priorities loving and forgiving or are they more involved with trying to discover what is wrong with the other person? The Frasier Crane syndrome.

Another friend and colleague is the father of two terrific teenage girls and a devoted husband to his long-time wife. On Father's Day, I ended a work email with "I hope your female family is spoiling you rotten today!"

He wrote back, "They are making me feel very special and appreciated. But spoiling? That's *my* job."

Now there is a man who's so in love he must spend a lot of time forgiving ...

I enjoy the whole notion of forgiving people I love and care for. I don't expect perfection or want it - maybe I'm afraid if I did, they'd expect the same from me. And I'm far from perfect.

Besides, being upset about something takes far too much energy; energy I'd rather spend feeling good; feeling good helps my creativity and being creative makes me happy.

So I guess what it ultimately has to come down to - since my premise is that it's really about us and how we react to people - is that as long as I can forgive myself for the little stuff, knowing the big stuff like self respect and self esteem are going for me, I stand a good chance of forgiving others for stuff that, in the end, don't matter anyway.