American Film Market

What a phenomenal experience and education.

The American Film Market is a gathering in Santa Monica, California, where hundreds of independent filmmakers from all over the world meet with hundreds of film distributors, brokers and producer's representatives from all over the world looking for films to represent.

EDITED TO ADD: I realized I ought to clarify this ... foreign distributors from outside the US/Canada are looking for films here from America and nations outside their own. It's strictly a business thing, filmmakers normally aren't involved. Normally.

I'm on a whirlwind schedule now so won't write a major blog on this now, but we met with many, many people about distributing THE WHOLE TRUTH, co-producing future films we are developing and laying the groundwork for long term relationships with some good people who work with films domestically (US), Canada and internationally.

With the appearance of new media - everything from wireless download phones and online services to Video on Demand to DVD to Blu-Ray to iTunes to Netflix to satellite disbursement to big screen releases to basic cable stations and networks to premium cable networks and so many more outlets, the options of a feature film's circulation are vast - everyone is seeking ways to gain exposure for any films they accept to put out to the world.

Massive restructuring and mergers continue for many as distributors work to finesse their effectiveness, but those who embrace the changes at breakneck speed continue to be successful as they learn more about new viewing habits of consumers.

I pointed out to several distributors along the way that while PARANORMAL was the #1 film at the domestic US box office two weeks ago with a $22 million weekend gross, that represents only a few more than 2 million filmgoers - among a national population of 300 million people.

That's approximately .66 of 1% of the nation. Similarly, a box office gross of $100 million = an audience of 10 million, or just more than 2% of registered US residents.

Fewer people are going to films in theaters. Ticket prices are too high for what is being offered; consumers are not seeing what they want to pay for in theaters. Even young film goers send in a sacrifical viewer - who texts his or her friends waiting outside the theater whether a film is good enough to pay for. If it gets a thumbs down from the reviewer? Everyone goes for pizza instead.

The basics must still be in place to get the best deals for worldwide distribution to be released in a myriad of formats: good cast, well performed, good story and characters and good production quality. Lots of other deals can be had with iffy films, but, with rare exceptions, the deals are not as good.

Quality distributors are also looking for long term relationships with filmmakers who want to not just make good movies, but to increase the quality of their work with every ensuing feature.

In addition to working hard to get the best distribution deal for THE WHOLE TRUTH now, we are developing three features to be made in the future - each a very different genre.

Stay tuned!

Rick's working overtime at THE OFFICE!

THE WHOLE TRUTH's own Rick Overton ("Uri") plays the dad of Pam Beesly (Jenna Fischer) this coming Thursday night on The Office.



















It's the episode millions will be watching because Pam and Jim Halpert (John Krasinski) are getting married!

We're so excited for Rick - that's us as the TWT premiere.

What a fine show to be in; hopefully the editing room does not leave too much of him lying on the floor - his first appearance as Pam's dad ended up without lines. Blasphemy! ;-)

While Rick is always working - he's been in half dozen big films this past year alone, I hope he gets the chance to become a program regular on The Office, or at least more of a recurring character than he is now, so audiences can get to know the great talent that he is!

Meanwhile, TV history would indicate that as soon as a pining, yearning, jonesing couple finally gets together, their programs die.

Mark my words - this will not happen on The Office.

The reason?

The other shows focused too much on the couple and their unrequited love and sexual tension. Like the goal was to do it, rather than be it - be a couple. Like couples who focus so much on getting married they do not focus on how to be married.

Pam and Jim's relationship is based on being a functional couple, their work, their sense of humor, the interaction they have with all the characters in The Office - not just one another. And their own interaction and dialogue is not so extremely sexually based; they talk and kid about everything and everyone.

Will and Grace made the mistake of making it a one joke show; all about sex. Funny for awhile, then like all functional relationships, we talk about something else.

More, Jim and Pam are good people, good representatives of their genders. They don't lie, cheat, drink, drug, deceive or denigrate others; they have fun; they respect one another and their priorities are in the right place.

They have no schemes of grandiosity, no ego maniacal melees - they leave that up to their boss Michael Scott (Steve Carell), and learn valuable lessons from his poorly pounded path.

I don't know about you, but I'll have popcorn at the ready to enjoy - and record - this week's episode.

Oh - good luck, Pam and Jim! Don't forget to put your dad in lots of scenes, Pam! ;-)

The only mistake the network could make with these two? Give them their own show.

Would. Not. Work.

The Friars Club loves THE WHOLE TRUTH!!

The Friars Club in New York City has been the pinnacle of comedy some 100 years; they believe that great comedy films have been overlooked far too long for major awards consideration, so they're out to change that.

With the world premiere of the Friars Club Comedy Film Festival.

I was called this morning and we are officially in it! You have no idea what a feather in our cap this is for THE WHOLE TRUTH - these folks *know* comedy!

They positively loved the film - the version they saw was the first cut (the Seattle International Film Festival version) so they'll love the current, second cut even more! They listed a number of details they particularly liked and appreciated about the film, which meant a lot to me.

It was especially terrific that they called to tell me - so often festivals just email filmmakers.

The film opening the festival premieres the new Coen Brothers comedy, A SERIOUS MAN.

More information as it becomes available, but the festival takes place Thursday, September 24-Sunday September 27, which gives us little time to prepare, get our new posters made up including the FCCFF laurels to take with us, and figure out what to wear.

Oh-and right after I hung up with the Friars Club reps, a distributor called me! He was happy to hear about our selection for the Friars Club Festival - and I told him about our next film THE LONELY GOATHERD, whose tag line he found very promising: "All Harry Lochman ever wanted was a wife and kids. He got half his wish."

September 8, 2009, has turned out to be memorable!

THE WHOLE TRUTH World Premiere.... SOLD OUT!

The Tuesday, June 2, 9:30 pm screening of THE WHOLE TRUTH is completely sold out.

Every seat taken. Every ticket available - purchased.

If you hold one of these tickets?

I'm thrilled you'll be joining me, Elisabeth Röhm, Sean Patrick Flanery, Rick Overton, Jim Holmes and Pisay Pao to welcome the film into the world - along with my business partner Gary Allen Tucci, producers Larry Estes and Jennifer Roth, editor Stephen Myers, composer Ragnar Rosinkranz and some of the cast and crew who made it happen.

We're checking on Wednesday's seating (4:30 pm, screen #11 at Pacific Place in downtown Seattle), which is also expected to sell out.

I'll post those numbers here as soon as I .. um, OK, my assistant Aaron Heinzen .. can get them!

THE WHOLE TRUTH World Premier

Will take place at the Seattle International Film Festival.

We were *just* notified, so we'll know more later - date, time, etc.

Hopefully, our stars Elisabeth Röhm,
















Sean Patrick Flanery,

Eric Roberts,
Jim Holmes,










Kristina Lilley

John Fugelsang
Rick Overton and Pisay Pao will be on hand to see the movie for the first time themselves!

Here's the 4-1-1 on SIFF from its invitation to include THE WHOLE TRUTH:

"Now in its 35th year, the Seattle International Film Festival is the largest and most highly-attended film festival in the United States, showcasing more than 400 films from over 60 countries to an audience of 150,000 attendees annually.

"While new festivals have seemingly emerged in every small and large city worldwide, SIFF was listed by Variety as one of the world’s “50 unmissable film festivals,” and continues to be recognized as one of the top festivals in North America.

"In terms of Seattle, the profile we offer for film is recognized as extremely important in the US. The Festival combines the best aspects of a casual film marketplace with our well-established reputation as a great audience festival that filmmakers love to attend.

(Here's the best part)

"We would be honored to present this film to our audiences and we look forward to receiving your confirmation of its availability."

Kewl!

Week 1 is in the can!

It's hard to believe seven days have passed since we started shooting the film; that five days of pure filming have already passed.

What a fantastic week it was. Our editor in LA says the dailies are fantastic. He's editing the first four days of shooting over the weekend and says we may need some wild sound for one scene but everything else seems in tact.

I told him I want to avoid looping (where actors say words in a studio - while watching the film - to be inserted on the sound track because their lines are, for whatever reason, lost while the scene is being shot).

I think the audience can always hear the difference between lines said in the heat of the moment in a scene and those said in a studio, where energy is usually considerably lower.

We had a small dust up Friday as we were finishing our first week ... about 12:30 a.m.

I came up with two solutions, which were supported by our producers and DP, so nothing like it will happen again.

We're all having such a good time. Lots of laughter. The crew and cast say how much they enjoy working on the shoot - the crew adding how much they wish they could work on films like it and comedies the rest of their lives!

Well, as soon as THE WHOLE TRUTH is wrapped and off to audiences, we're in pre-production for THE LONELY GOATHERD, so they'll have the opportunity to laugh again relatively soon.

I've been trying to find out what kind of shoes Steven Spielberg wears ... my knees are absolutely killing me. It's not age - it's standing for so many hours every day ... I thought I had comfortable shoes, but I need shoes that are much more comfortable and good for knees.

This weekend I've pretty much stayed in bed, slept and kept off my poor feet/knees. I've taken Advil, used stuff for sore joints, and everything else I could do to ease the pain. I have a pair of shoes coming that are supposed to be the most comfortable shoes *ever,* but that could just been an advertisement

I'm getting major knee braces tomorrow am on the way to set. I'm dressing very comfortably -- one can't be comfortable enough when one is directing because we're going from dawn to dusk on our feet.

I check in every day before we start with hair, make up and wardrobe because they always need for me to approve something, or I have a suggestion. The art dept (set design) and props are my next stops. Everyone is such a pro and on top of their game, they're thrilled the director actually spends time with them. It's resulted in some unbelievable work.

We're in this massive location house tomorrow and Tuesday, then moving on for two days of park scenes. Actually we may start on Tuesday because were a full major scene ahead in the schedule. The editor is sending me any sounds or inserts we need to pick up for all the scenes we've shot before we leave the house.

The actors have been *unbelievably* good. Great, even. Sean Patrick Flanery can do anything and everything and sensationally. Elisabeth Röhm is phenomenal. They're both extremely kind - one of the supportive actors (in her first major American film) was having trouble with lines, and they helped her before I had the chance. The actor nailed it!

Eric Roberts, while working on another film, has also been early prepping for his role on this film. He and his wife Eliza are very excited about this project - and his prep is meticulous. When he, Rick Overton and John Fugelsang arrive, we're going to have a PARTY of stupendous acting!

Back to resting .. I can't get enough rest on weekends .. all I'm doing is lying down, drinking water and juice, eating something good.

Living such a sedentary life before the production office was set up and prepro kicked in, I've worked hard to keep up with the physical labor part of this job. I've already lost noticeable weight and should be in fantastic shape when we wrap!

Then it's immediately on to editing THE WHOLE TRUTH and into prepro for our next project, THE LONELY GOATHERD.

Beginning of shoot day #5

Yesterday's shoot went *very* well. Elisabeth and Sean are at the top of their game, Kristina Lilley kicked butt and Pisay Pao came through like a champ. Little pup TinTin was FABulous.

The crew cannot be praised highly enough. Today Megan Griffiths gets a special shout-out. She's the 1st AD (Assistant Director), who keeps the whole team glued together. She's calm, cool, collected; extremely knowledgeable and professional.

We had a later call yesterday and a call today (start time) at noon, so I'm getting a couple things done today before going in and starting a long day that will go late into the night.

Stephen Myers, our editor in LA, started to receive our dailies (the film already shot and developed - we're shooting 35mm), and says they look fantastic! He should finish editing the first two days of shooting today, and we'll keep progressing daily for the editing from now on.

That means we'll have a rough cut of our film shortly after we finish shooting. I'm taking a week off after the shoot to put my brain back together, then I'll be sitting with Stephen every day as we finish the editing process.

I've already been working with Ragnar Rosinkranz, our composer - he'll be looking at the rough cut as it is built and coming back with more themes and scoring music that we'll finesse along the way and at the end.

Following that is sound perfection and "sweetening." That's where I add all the birds and other ambient sounds that we've been careful to avoid during the filming so I can put them in just the right place.

I'm not posting pictures until the film is finished so you'll want to see it and get a kick out of the "behind the scenes" snapshots that were taken.

Two seniors from the University of Arizona arrived yesterday to begin the process of doing a documentary on the making of THE WHOLE TRUTH. A total of six students will be "covering" us without getting in the way. One of our producers, Larry Estes, teaches a film producing class there - in his "spare time."

They get credit for working on THE WHOLE TRUTH.

Me, too.

writer-director and some sort of producer ... ;-)

Back to work!

Cameras roll in 2 days!

Locations found by Craig Stewart and his staff, are (mostly) locked. Sets are being dressed by Rachel Thomson and her crew with props by Christopher McFadden and his crew as I write this.
Rehearsals have been held with four of our lead actors: Elisabeth Röhm, Sean Patrick Flanery, TinTin the 3-pound dog and Jim Holmes. Other lead stars Eric Roberts, Rick Overton and John Fugelsang will be coming soon.

Costumes by Rebecca Luke have been fitted, wigs are being made by hair specialist Danyale Cook, and make-up tests by make up artist Dawn Tunnel.

Director of Photography Paul Mailman has run film tests with gaffer (lighting specialist) Ted Barnes.

Many DP's these days light the set - actors just fit in. We're lighting the actors because Paul and I believe the characters tell the story within well designed and dressed sets.

Stunt Coordinator Michael Hillow kept us safe as we worked our way through an action scene that must be carefully choreographed when we shoot in in a couple weeks.

Winding down tonight, a chilly, overcast Friday night Seattle, I can't help but be proud of the entire crew and cast. We're all working our hearts out for THE WHOLE TRUTH.

Mercifully, so far crew folks just joining us - who have not read the script - are laughing at the right places when they see rehearsals.

Hopefully, you will, too, when you see it in theaters.

I'm celebrating tonight by going to a rude political improv show - taken by my assistant and stand-up comic Matt Schmidt.

Tomorrow I'm invited to a special dinner, after which I'm going to rest all day Sunday because Monday morning, well before dawn, we start our first day of shooting. We're as prepared as we can be, which means that we won't freak out *when* we encounter any problems.

Over the next six weeks, we'll be filming long days Monday through Friday, always preparing for future shooting dates until the last frame of film is shot. What a great adventure.

Cameras roll in 9 days ..

THE WHOLE TRUTH update:

Location scounting, tech scouting (making sure all the locations we chose will work with all the technical aspects of making a film) is nearly at its end. Craig Stewart, our "Scout Master" and his team have landed us some terrific places in which to film that will be dressed by Production Designer Rachel Thomson, filled with props by our Prop Genius Christopher McFadden.

Director of Photography Paul Mailman and his crew, including gaffer (lighting) Ted Barnes - one of the best - are setting up equipment to create the most effect scene captures on film. Paul and I are a strong team .. and he has an eye for putting you (the audience) in the scene rather than just "taking pictures" of something happening, which is what I look for in a photographer, and few are capable of doing it well.

The lead actors begin to arrive tomorrow, a week early, and we're mighty excited to see them - with preproduction and preparation at its peak now. Our lead actors rehearse at no cost to us - they're paid for their work before the camera but make rehearsal at no cost part of their contract if requested. I find that fine actors prefer to rehearse and request it; actors like Paul Newman, in fact, insist on it and offer filmmakers two weeks of rehearsal "off the clock."

I am coaching some of the local actors to get their performances perfected for the shoot - we'll also have some rehearsal time before shooting each scene. I've been sending notes to all the lead actors that I believe will help them develop their characters.

Editor Stephen R. Myers, in LA, is prepared to receive our dailies to start editing them as we shoot; composer Ragnar Rosinkranz, also in LA, will be seeing them as Stephen builds the rough cut of the feature, assessing how the music we've worked on over the weeks will suit the characters and scenes.

We're all headquartered in a large former school house - giving every department plenty of room to work.

I have my keyboards in my huge office - which is shared by my assistant Matt Schmidt - so I can work on musical ideas. I even wrote a little ditty that will be sung by Elisabeth in the film.

This week end my "job" is to rest - and in fact although Paul and I will be prepping every night for the next day's shoot and on the weekends for the following week's work - all of us must rest on our weekends or we'll wear out, since we'll all be working hard for long hours during the week.

Our Leading Lady, Elisabeth Röhm, is working all 30 days of the demanding 30-day shoot. Now *that* is a lead role! We'll be rehearsing stunts this coming Friday - she's very athletic and strong so she might be doing some of her own -- if we're sure she won't risk injury! Fortunately, there are only a few.

She'll be rehearsing with Jim Holmes and Sean Patrick Flanery later in the week, which will be great fun.

Back to hanging out, tending a few TWT details, watching a couple films, baseball and football games for me! Enjoy the weekend!

He's baaaack!

After being told three times we couldn't have Sean Patrick Flanery for our film THE WHOLE TRUTH because of the production schedule of Boondock Saints 2, in which he stars?

We got him!

Thanks to Sean's insistance and the willingness of Boondock Saints 2 producers, he's coming up to star with Elisabeth Rohm, Eric Roberts, Rick Overton, Jim Holmes, John Fugelsang and our little Talented Animals star pup, Tin Tin.

We're also introducing Seattle actress Pisay Pao.

I was out location scouting last week with our scout "master" Craig Stewart, 1st Assistant Director Megan Griffiths, Production Designer Rachel Thompson and our Director of Photography, Paul Mailman. A Teamster driver took us to all the places we evaluated for their potential as natural "sets" for the film.

Tucker Dropout Productionz' THE WHOLE TRUTH production offices are set up in a school that's not being used. My assistant Matt Schmidt will be joining me there in our office Monday.

Lots to do before cameras roll in two weeks, but we have a great team - crew and cast - all of whom are very enthusiastic about our project.

Stay tuned!

Amazing actors tell THE WHOLE TRUTH

I'm thrilled to announce our leading lady - a name synonymous with "screwball comedy" -- not! is Elisabeth Röhm!

This will be her first foray in comedy and trust me - she will not disappoint! We're both excited about her turning in a surprising - if not shocking - performance for fans who know her best from her gripping work in Law and Order and her recent uber-dramatic turn as a concert pianist in Bernard Rose's The Kreutzer Sonata, based on the novella by Leo Tolstoy, celebrated only two months ago at the Edinburgh Film Festival. This woman is *fearless!*

Joining her and Eric Roberts (as you never have and never will see him again) - I told you this is a comedy, right? Once again, this thinking thespian will show you his range is not limited to dramatic roles!

Also hopping aboard our train to Fun and Frolic is the amazing Jim Holmes - who, again, will delight one and all with the splendid timing and layers of persona he conveys for the guy he's playing in THE WHOLE TRUTH. You'll recognize him from that laugh-a-minute hit show, "24."

Yes. This. Is. A. Comedy.

Rick Overton, known as one of the best comedy script writers around (even winning an Emmy for his labor), character actor (he's in three summer movies this year alone), stand up comic (HEALTH WARNING: if you see Rick in person, you may want to bandage your torso. I saw him recently at a Seattle comedy club and believe I cracked at least one rib laughing so hard. He is *merciless* as he keeps the laughs coming!) and consummate mensch is with us as well. If you don't know, a mensch is a person with great character; a true-blue, genuinely good-hearted person. He also appears regularly on the Stephanie Miller Show, writes for the Huffington Post and is Captain Nemo in the new Capital One TV commercials.

See? At least one person famous for working in comedy is with us. That gives us at least a little street cred with comedy purists. Oh! Our editor Stephen Myers has also worked with Carl Reiner and other comedy greats in the biz!

Next week we finish casting locally, location scouting is already underway-Craig Stewart is one of the top location scout/managers in the industry; our production office is going to be set up, our fantastic, enthusiastic Director of Photography Paul Mailman and other key crew are aboard - and in just a little more than a month... the camera rolls!

Once again, the lure to sign up for this little independent film is the script. It gives everyone participating - on and off screen - the opportunity to shine. And, hopefully, to have a great time while we all work our hearts out!

Five lead actors are cast!

Unfortunately I can't tell you about anyone but Eric Roberts (see below) because their "deals" are not finalized yet.

Agents try to get the best deals they can for their clients, while budgets can only be stretched so far. So it's a little dance they do, these two negotiators, keeping in mind whether the actor is very enthusiastic about the role.

The agent can go to the edge of the production company's budget while preventing the production company from saying, "We can't afford him/her," and going on to someone else if their actor really wants the gig. Or the agent can pass if the actor is not all that thrilled with the role or film to begin with.

Meanwhile, the production company tries to figure out how they can afford as much as possible for the actor in the deal, up to the point of sacrificing, say, *film* we need to shoot the story.

Our producer and attorney do the deals, keeping me up to date with how negotiations are going.

I need not to worry about the dealmaking because I'm too busy putting the film together in preproduction - where films are actually made.

We need our terrific actors to arrive and feel safe, knowing that everything's going smoothly at our end; that all the filmmaking elements are in place, leaving them free to perform more briliantly than ever before - trusting the director to skillfully lead their characters so they can relax and successfully tell their stories for appreciative audiences.

As soon as I can name names and show you their photos, I shall - it won't be long!

Meanwhile, I've also started casting local performers; they will blow you away with their performances. In a little more than a week I'll be seeing the majority of local talent to fill supporting roles.

I'm so proud of this project. What makes it so terrific for me is that everyone involves believes in the script. A script that many, many people still don't understand. But they most certainly will when they see it onscreen!

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!

Pact Mentality

"Hollywood films Juno and Knocked Up blamed as teenagers race to become mothers" read the sensational headline in the British newspaper The Times of London last week.

It seems 17 teen age girls, some younger than 16, the age of consent in Gloucester, Massachusetts, made a pact to become pregnant at the same time so they could "raise their children together." According to CNN reports, there was severe peer pressure among the girls at the school to become pregnant to join .. to belong to the pact.

One father said that his daughter was either scared .. or strong enough .. to refuse when she told her parents about the pressure the girls were putting on her.

The school nurse reported girls being "disappointed" when their pregnancy tests came back negative - more than 150 tests were requested at the school.

I recall a rash of teen pregnancies several years ago, where the reason given by most of the pregnant girls was that they wanted to get pregnant to have someone "love them" for the rest of their lives. Not someone *to* love. But someone to *love them.*

The article says one of the fathers is a homeless 24 year old man, other fathers in their mid-20's. Some are outraged at the men, saying they should at the very least be financially accountable as fathers and at the most put in jail for impregnating the girls under 16. That's statutory rape.

The correspondent, with the regrettable-for-this-story name of James Bone, is only one of many columnists and pundits who claim that recent films "Juno" and "Knocked Up" may have been the inspiration for such a pact.

In Juno, actress Ellen Page stars as a teenager who finds herself pregnant through carelessness and ignorance. She decides to have the baby in order to give it to someone who can care for and nurture the new life properly, with all its attending responsibilities. Her family supports and loves her through her pregnancy; classmates and friends accept her situation.

The Diablo Cody script received an Academy Award last year.

"Knocked Up" is about a slacker who impregnates an otherwise responsible, mature woman with a solid career because both were careless and irresponsible. Unlike in most similar real life situations, he learns to grow up and take responsibility for his behavior.

More, the teen pregnancy of Jamie Lynn Spears, Briteny Spears' younger sister, is said to have influenced many girls, because Spears has been the focus of special interest, and even though her mother has agreed to raise the baby, Jamie Lynn's actions were not seen to have many negative ramifications, other than interrupting her show business career as the star of the sitcom Zoey 101.

Meanwhile, back at Gloucester High School, there was a call for issuing contraceptives to the youngsters without parental consent ... that was nixed because most are Roman Catholics in the fishing village.

The Times of London article says that the school superintendent doesn't blame Hollywood. No, Christopher Farmer believes the real cause is that these young women have no sense of purpose or direction, that they lack self-esteem and affection.

Bingo.

I would have added to Christopher Farmer's list: they lack a sense of belonging.

"Pact" mentality seems to be a popular among many American youngsters today, regardless of its reason.

I see it as trying to gain a sense of belonging, in whatever way they can.

Gangs provide a "pact mentality" with a strong sense of belonging; it's the primary reason kids hook up with them. Belonging then gives kids a purpose - even if that purpose is malevolent. Even if their chances of being maimed or killed are astronomical. They can die feeling they did it for their gang family.

Family is a place where a sense of belonging is supposed to start. Too many kids aren't feeling as if they belong in their own families. Among the million reasons why the don't feel they fit in or belong is not being accepted for who they are by their parents or extended family. Feeling isolated, and in turn feeling bad about themselves, which leads to a lack of self esteem, a lack of purpose or direction as well as a lack of affection. Withholding affection is no way to "punish" a child.

How many kids have "good homes," but behind closed doors are not accepted for who they are, who are told they are supposed to be, essentially, someone else? Denying a kid a sense of self, acceptance and their true identity is a recipe for kids seeking acceptance, love and support somewhere else.

Enter Hollywood.

Sometimes adult intentions when writing for or about kids are good, but because kids don't perceive things the way adults do, the message becomes garbled or misinterpreted.

Writer-director-producer John Singleton created the film Boyz N the Hood, a breakout film that showed the mean, gritty gang culture and how his hero, the protagonist, was able to leave that horrible lifestyle behind, to be a positive influence and have a life contributing to the world.

That's how adults saw the film. Gang bangers saw it as a glamorization of their lives; they experience the hero as "weak" "meek" and wimpy -- adults would experience that young man as having more courage than any gang banger.

Because of this, sadly, after seeing the well-intended film, several fights broke out, shootings occurred and some theaters refused to show the film because of it.

In Juno, I can see girls thinking that getting pregnant is a good way to get special attention and love, and end up with a boyfriend/husband as the teenager did in the film.

Its star, Ellen Page, would do everything to refrain from getting pregnant at her age because she has a purpose - a direction, a career and is getting lots of affirmation for her talent and skills.

Those of us who see it as "just a movie" understand that.

But for vulnerable kids desperate for love, positive attention, direction and purpose, who knows how they perceive so much of what they're exposed to in this media-saturated culture. They seek out answers from media instead of the people from whom they need to get real information. A genuine reality check.

Many, if not most adults, did not understand Napoleon Dynamite. The kids did. And absolutely loved Napoleon and the film. He was a kid who didn't fit in and was seen as a slacker because he had no purpose or direction, but who came through for his friend in what could have been the most humiliating way - and was therefore a real hero to them.

I don't "blame Hollywood" .. but I do feel that media influences people -- especially kids -- in intended and unintended ways when a vulnerable, needy individual is exposed to it.

Intended .. through advertising. Commercials and ads want to affect your behavior and actions -- to buy their products. Many companies enjoy a healthy bottom line because of their advertising.

Unintended through the examples I've already cited.

In the film, The Whole Truth, for which I'm the writer-director-co-producer, I originally included a specific purebred puppy for one of the lead characters because they are *so* unbelievably cute and smart.

I have since replaced that purebred with a rescued mutt puppy from the animal shelter because I knew puppy mills would go crazy for the purebred, wrecking little pups because of their hateful breeding systems, because kids would want them and while puppies may not be babies, they take a heck of a lot of attention, socializing and training to live happily ever after.

Most dogs end up in shelters because they are brought home as puppies, not socialized or trained properly and become pests because they've not had enough attention or proper care.

I remember the nightmare of Dalmatians besieging pet shelters because kids wanted one after seeing 101 Dalmatians. They are a special breed, prone to deafness and other problems, so they need special attention.

No doubt the puppy mill runners carelessly bred them as well, creating more physical and psychological problems. When the puppies turned into work? They were literally dumped at shelters all over the world.

The moral of the story in 101 Dalmatians got lost on little minds; they just saw the cute puppies and wanted one.

Should that film not have been made?

Of course not .. but parents needed to help their kids understand that any puppy is in need of lots of time, care and attention. Especially feeding, watering and picking up their poop. That would have been a great problem-solving exercise for kids to understand whether they were ready to get a dog, because the vast majority of people who bought those puppies couldn't handle them when they grew up.

So they took them to shelters (or worse - released them alongside country roads) that had to euthanize them because there were too many to care for; rescue facilities were already overcrowded.

In short, these films make great family discussions and can lead to some very positive interactions and actions by the kids. If kids want a puppy after seeing our film, at least they've seen how much care they need.

Without these discussions, kids will see what they want to see, hear what they think they hear and take actions that may well not be in their best interests.

Something to consider. Feel free to respond!

Extras! Extras! Read all about it!

Casting is underway for our feature comedy film The Whole Truth, which we're shooting in Seattle, and wow, do we need *extras.*

Especially extras who know their way around a film set.

Or people with a special look. Young, older, any race, any size.

If you're a non-union actor or a responsible person looking for a great filming experience, please send your headshot or a recent photo, along with your contact information and a little background or a resume by June 19 to:

Matt Schmidt
Asst., Colleen Patrick
writer/director/co-producer
THE WHOLE TRUTH
11328 28th Ave NE
Seattle, WA 98125

You'll be asked to do a brief audition.

The shoot should start near the end of August, and go for six weeks; extras will work from just one day up to four or five, depending on your scenes.

Creative References

Now that the script for our Heart Break Productionz feature comedy The Whole Truth is locked and has scene numbers, we're flying into production action.

We're interviewing some terrific candidates for key crew positions (Director of Photography, Production Designer, local Casting Director, make-up, hair, wardrobe and so on). They've read an earlier incarnation of the script - it's better now - and come with ideas and questions for us as well.

Something that helps the technical/artistic crew members is called a "Creative Reference." I have in the past referred to it as my Film List, but now that I'm working in feature films, I discover the more accurate name is Creative Reference.

This is a list - comprehensive but not exhaustive - of films that have an element that would, IMO, serve our film well. Whether it's blocking (where/how characters move), design (scenery, background, colors, props), camera movement, symbolism or a number of other integral parts of scenes, scenery and style.

The idea is *not* to copy anyone - far from it. It is to recognize effective cinemagraphic techniques that could tell the story best.

So I watched about 40 films that I believed would have something that we (the production team) could use, update, twist or incorporate in a new or unusual way.

This is where knowing about films from the past and film history comes in handy.

From those, I selected nine for my list, writing what I saw in each that could lend effective creative elements - some minor, some major - to our film. Dramas and comedies are considered because, remember, we're looking for technical references as well as story telling techniques.

For example, one of the films I list on my Creative Reference sheet is Rob Reiner's classic, "This Is Spinal Tap."

Now, The Tap is *nothing* like The Whole Truth. Nothing.

The Whole Truth is tightly scripted, The Tap is mostly improv'ed by a cast of brilliant writer/actors. But what I see in The Tap that I believe will work for us? The sincerity of the characters; there's never one false note.

Those characters are simply who they are. None tries to be funny. They only react as their characters would honestly to the bizarre situations in which they find themselves, which are actually fairly realistic for show biz.

So, for our film, I listed: This Is Spinal Tap - the sincerity of the characters. No one tries to be funny, they are simply and honestly themselves. Billy Crystal tells the only joke (you'll have to see the film to find it) in the entire film.

The folks we're interviewing try to watch at least the top few films on my list to understand how I see an aspect of the acting or their technical make-up helping our project.

If the Creative Reference list is properly and well done - the crew folks who read it should immediately see what I see, the way I see it. It's written carefully, conscientiously.

Their job is to help me realize my vision as the director - but directing is a completely collaborative job. It takes a village of crew and cast to help bring that vision to life - what we directors do is, in the end, take credit for the work of The Whole Creative Village. ;-)

Now, by sharing my Creative Reference list, they can come up with notions that only enhance my concept and vision, bringing me ideas and creative choices to make that vision become a living, breathing reality in a way that, hopefully, you will enjoy on a number of levels.

This is a very layered film. You'll have the opportunity to enjoy it on a very simple level - from taking that roller coaster ride of "just" a funny film for a sheer escape from your day-to-day life, to an examination of the darker sub-stories, to many other levels of character analysis, story telling and subject matter.

Which is why casting is crucial. The folks cast in our film must be able to *act,* and well. We're working with some top casting folks in LA (who are amazing) and we'll be working side by side with a well-known Seattle casting director, too.

When all our crew is in place, I'll be listing them here.

Executive Producer Gary Allen Tucci and I have been so fortunate to hook up with, IMO, the best producer in the biz with the passing of Sydney Pollack, Larry Estes. His enthusiasm, vast knowledge and support for The Whole Truth are making certain we maintain our very high standards of quality and priority of doing the best job we possibly can to work on behalf of our real boss.

That's you.

Our audience.

Of dogs and wheels

Gary Allen Tucci, my business partner and executive producer of our Heart Break Productionz' film The Whole Truth and I were pondering some of the needlessly large egos in show biz.

We have what we call the Heart Break Productionz Way of working with people - not having people work "for" us. You gotta be professional and know your stuff - and once you're aboard? The CP/GAT/HBPz Way means respect, appreciation, good manners, consideration, a creative work environment, working hard, taking responsibility and a sense o' humor.

Although the ultimate buck stops with Gary and me, we do not consider ourselves "Big Wheels."

Nor would we ever want to.

Why?

As Gary puts it, "You know what dogs do to wheels, don't you?"

I'd just as soon stay out of that line of fire, thank you.

Heart Break Productionz supports:

Executive producer (and my biz partner in Heart Break Productionz) Gary Allen Tucci and I agreed: we want Heart Break Productionz to support in word and deed a special, terrific cause that deserves kudos, financial (and other) donations and media exposure.

After some research, we decided on First Place.

First Place is a school for homeless kids in Seattle - but the staff and volunteers provide so much more than readin', writin' and 'rithmetic for youngsters without a permanent home, kids on the run with a parent escaping domestic violence, and kids who are constantly moving for whatever reason.

Donations of money, clothes, books and all sorts of school supplies are always welcome.

Teachers, staff and volunteers work to keep classes limited to 14 - there are often as many as five adults in a classroom at once, which means these kids are getting a new and positive lease on life.

I'll be showing you photos of the school's interior. It's a secure large building whose location is supposed to be confidential, but I've seen the address disclosed in places when it's not supposed to be.

The kids - my assistant Matt and I took a tour just yesterday - are really well behaved, happy and excited about learning; excited about understanding how to deal with life. Before you think they were "told" to behave, the kids didn't even know we were there.

As I told our guide Melissa. The point of good child care is not to protect children against all pain because that's impossible, but to teach kids how to deal with pain in a way that is healthy and positive so they can create rewarding lives and relationships as they grow up and have children of their own.

She emphatically agreed.

There will be much more about First Place here - photos, stories and all sorts of good stuff - as well as on the Heart Break Productionz and The Whole Truth websites soon; we're also mentioning the school in media appearances and any other opportunity we get.

Later I'll be doing some special workshops for the kids regarding writing, acting and making films; Gary is not only a great father of three kids himself and loves kids, but has a number of skills I bet youngsters would love to hear about and see. He's into boats and cars and motorcycles and all sorts of other cool things he'd love to share with the students.

Ultimately -- when our films make a profit -- we will be donating a percentage of our proceeds to the school.

This school is making a phenomenal difference to kids who otherwise would not only be at extreme risk, but unhappy, dysfunctional and lost.

Most importantly, First Place is a private, non-profit establishment, which means it can't be politicized or influenced by government input or school district politics, its budget can't be juggled and the kids don't have to worry about unexpected changes or the physical state of the building eroding.

More, the school is scheduled to expand physically and include a curriculum that will feature pre-school and kindergarten classes in the future.

Hats off to all the staff, teachers and volunteers of First Place who work hard to right the wrongs done to innocent children who now have the chance for a new start.

Times change, so do walls

My transition to a feature film writer-director-producer has changed my coaching practice immensely - I don't have time to coach any longer.

There are precious few people I'm coaching now. They've been working with me a very long time and their schedules still permit me to see them.

Folks coming to my house for many years have enjoyed my Wall of Fame - headshots of dozens of actors with whom I've worked have hung in my hallway.

They've recently been taken down, and the entire hallway's been painted a fine white, which really brightens up the place.

The reason I coached actors for camera work started out as something I was asked to do and I also needed camera-trained actors to appear in my films. I loved watching so many people grow and blossom as people and as performers.

Over the years I've worked with hundreds of people - being coached is a much different experience than being in a class. Much more challenging, harder work and there is the need to be professional, to be a self-starter, to come in prepared and ready to work - or figure out how to create a system of preparation that would if not guarantee success, at least positively work toward it.

I got the idea from Rob Reiner and other directors who started out as acting coaches because it gives us the opportunity to help actors achieve their performing and career goals. It also helps us sharpen our directing chops with every conceivable type of actor at every conceivable level of training, experience and career aspirations.

It takes so much dedication, work and savvy to keep at it, many decide they'd rather not put themselves in the race.

What I discovered that has cost more of them a career than anything: the lack of understanding who they honestly are and what they honestly want, and the lack of a plan. A genuine plan based on reality. I recommend every artist create a business plan, or their chances of becoming professional lessen greatly.

Of course in order to create the business plan they must understant who they are, what they want and what is needed to succeed, one step at a time -- most importantly, on their own terms. If you want to know what makes you stand out - it's the real you. That's what we want. That's what we need.

Not another cardboard cutout of an actor.

You can detect the outstanding performers every time. They have a clear sense of themselves.

So many changes are taking place in my life, my environment is reflecting that process. Streamlining, fluffing and primping, enabling me to do everything I can in the best way possible. It's energizing and comforting.

Since I'm doing it in increments, it's not shocking or weird. It feels just right. Yep. Just right.

Ah, sweet misery of life ...

Rewriting.

It's the most frustrating, fun, stressful, exciting part of writing for me.

And it's where I'm at now on my screenplay, The Whole Truth.

It helps to have spot on feedback from my producer Larry Estes, encouragement from my best mate and British writer John Beresford and support from executive Gary Allen Tucci.

It's difficult for non-writers to understand that we're actually working - writing - when it does not look like we're working at all.

We can experience floating intermittent reveries (dreamy states) when we're on a writing jag. That is, falling into a semi-napping state, coming out of it, going back, actually taking a nap, waking up, and repeat. When we come to, we tap furiously on the keyboard to get every thought down on the screen before we lose or forget it.

I normally have my laptop on my lap so it's always at the ready for every plot twist and turn, character development or note I need to write immediately.

We may stare out the window for some time, or take on a certain look that sends us far, far away or into the world of the characters with whom we've shared our minds, or work on the puzzle of how to show a cerain thought without just saying it but showing it.

Then there's the all important walk or work out to keep the corpuscles flowing to our brains.

I'm not one to overwrite as many are. A comedy should come in at about 90-100 pages. It's just fine to go 140 pages then cut back, but I try never to exceed 100 because I'm editing scenes and dialogue in my head before I write it out.

In this case, the script lands at a solid 101. Longest comedy I've ever written.

I think it makes a difference if I direct the script because I tend to see it being shot in my head as I write it. When I lose that direct viseral connection, of seeing it in my head, of feeling in the company of the characters, things tend to go a bit awry in my writing.

No matter what, I'm having a great time on this rewrite rollercoaster, becoming a literary and photographic detective to solve the problems of the script structure and characters that make it most enjoyable for you to see on the large or little screen.

When we hit paydirt, get just the right answer for the question I've posed, hitting just the right note and tone to perfectly illustrate the scene or situation, then it feels like making a touchdown in the Superbowl! And believe me, the three dogs and kitty wish I didn't do it quite so vociferously!

They unfortunately are not fans of my work at all -- they enjoy sitting on or next to or against me when I write, but when I enthusiastically explain a perfect story turn or read great dialogue to them? Nothing.

Well, back to work. I *think* I've solved a problem I've been pondering awhile. Solid stuff, works much better in the story. It helps when I let the characters tell their own story more and I get out of the way.

I've decided to get rid of all the ending scenes - they just weren't strong or clear enough - and redo them completely.

The solution to their quality existence lies in the rest of the script. I have to put my investigative cap on, get under the skins of the characters and let them reveal what should happen that is real, fun and definitely a twist that has been indicated all along, but isn't apparent.

I'll never forget reading scripts for one of the funniest shows I've ever enjoyed, Absolutely Fabulous. They were not funny, just being read. Shocking.

But because the characters were so absurdly real, based on three genuine generations of people who have strongly addictive personalities and all that attends them (states of denial, constantly trying to fill the emptiness), the actresses portraying Eddy, Patsy, Saffron and Mrs. Monsoon (Jennifer Saunders, Joanna Lumley, Julia Sawalha and June Whitfield) were absolutely hilarious. And, it goes without saying, absolutely fabulous (in their own minds).

It also helped that its star, Saunders is the writer of the series, so she saw in her mind what would make it funny. She's a fearless writer, and I've admired a lot of her work, as well as the work she's created with her performing and writing partner, Dawn French. Their decades-long show, French and Saunders still enjoys the occassional reappearance on British television.

The key is to make sure whatever is produced is funny on screen. There have been some real hoot scripts that somehow didn't translate as hilarious on screen.

I do laugh a lot at my own stuff. That's not necessarily good if someone, like the audience - or a script reader, don't share the same sense of humor. That's the cool part of directing my own stuff because I understand how to make it look funny.

But that's half the fun. Enjoying all this angst and drama. The misery and high times experienced by those characters, that is.

Fortunately, my personal life is free from drama - I keep it strictly confined to my work!

The promised announcement:

Heart Break Productionz LLC

presents

The Whole Truth

... a fully funded independent SAG feature film to be made in Washington State this year; preproduction has been underway for more than a week; cameras turn this fall.

Executive Producer: Gary Allen Tucci
writer/director/co-producer Colleen Patrick

“The Whole Truth” is a screwball comedy -- with a twist!

Cast and crew will be hired from LA and locally; information will be released as it can be made available. After a long day of preproduction meetings with industry folks, all I'll say is that everyone is very excited about the project. Including me and Gary.