Award winning Tucson filmmaker has big plans for the future

Award-winning filmmaker Nickolas Duarte is not new to film. As owner/operator and and full time filmmaker at Crown Chimp Productions, Nick has seen his share of projects. As he comments on his Crown Chimp Productions website, "...at any given moment, we were working on five different projects. This went on for years. Soon enough though, our hard work paid off and those little films began earning awards and accolades..."

To be certain, Crown Chimp Productions just won 2 Gold Addy Awards for their Brute-Adidas ad entitled 6 Minutes and a Silver Addy Award for We Need To Talk for non-profit Project Dor Habah.

Duarte and Crown Chimp Productions have not been waiting for work to arrive, either. With a few short films and music videos under their belts, they began making commercials. "I just started cold calling businesses," comments Nick. From there, it was a matter of finding similarities in current work that would apply to new business and commercials.

For new or budding filmmakers, Duarte suggests "making as many movies as you can. You can learn from books, but you will learn more by just doing." For his latest projects, he has been using the Canon 5D MK II DSLR camera and a Zoom H4n audio recorder. These represent relatively new and inexpensive equipment for filmmakers in general. Duarte suggests "avoiding verticals, extending shutter speed," to avoid the "rolling shutter" issue seen with many DSLR cameras. DSLR cameras are SLR photo cameras with an electronic sensor instead of film. Manufacturers have recently added full HD video capabilities to these normally still camera models, opening them up to filmmakers and videographers who want to have a "film" look to their work.

Nickolas wouldn't be where he is today were it not for his team: Adam Ray and Matt King. "Adam is a great writer who doesn't hold back...," notes Duarte, "...and Matt is the crown in Crown Chimp." They've recently wrapped shooting on two music videos for The Country Boys and are prepping to do another music video, edit a recent commercial, shoot a new web series, and Nickolas is preparing to do a feature film entitled Cauliflower. The name refers to his experiences as a wrestler. "I'm shooting for a late 70's Neo-Realism," comments Nick, referring to the grittier style of independent films from the early 70s with a documentary, nonprofessional feel.

Among Duarte's influences are films like Aviator. In that film, Scorsese depicts Howard Hughes' attempts at film called Hell's Angels which cost millions of dollars to produce and 3 pilots died during the making of the elaborate dogfights. Hughes ability to make a film and have people "get it" are what attracts Nickolas to movies. He advises filmmakers to be certain of how you are going to capitalize on a film once you are finished with it - know what you plan to do with it once you're done.

Nickolas Duarte can be reached via his website at Crown Chimp Productions.

Long-time casting director enjoys her independence and working in film

After working for years in the entertainment business, Helen McCready and her success have led her to be an independent casting director. McCready started as a wrangler and actress on 21 Jump Street, then "dug my heels into it in 2000 working as an assistant..." and in 2004, branched out as an independent casting director. She has much valuable advice for new actors and filmmakers to impart and has an upcoming casting director workshop in Phoenix with Peter Pappas in March.

Helen notes, "there is no such thing as a 'casting agency.' It's a made-up slang. You have casting directors and extra casting services...that's it." The Casting Society of America website notes, "Casting Directors are Studio or Production Company employees and their job is to find and hire talent -- in a sense, human resource departments for actors..." A talent agent is one who finds work for talent (ie: actors, authors, musicians, models, athletes, etc.). While casting directors may use talent agents, actors do not hire casting directors.

McCready has the following guidelines for beginning filmmakers who may not be familiar with the duties of a casting director: "They [filmmaker] provide us with a breakdown and we find the talent they want," noting filmmakers, "...can also ask us to do the breakdown and we let them know how many extras, roles, etc. are in the film..." Since the producer or director has the final say on who actually gets cast, "...It's never the casting director's decision." Helen comments, "...the casting director will file all of the proper paperwork for SAG or AFTRA when needed. That's the basics."

From her Helen Wheels Productions, LLC website, Helen has advice for actors, "To be a successful actor you really have to have a passion for the craft and the patience to wait for the big break. Although being an actor is extremely rewarding, finding work can be a challenge. The profession requires great commitment and fortitude." The site also has her 10-step Tips On How To Become A Successful Actor, an informative and insightful read for actors.

When looking for actors, Helen jokes filmmakers should be looking for "talent and a brain." She has this anecdote, "Don't let talent bring in props to an audition...that can get scary. I had a talent bring in a gun that shoots 'blanks' -- I made him put it on my desk before he auditioned...what was he thinking? It was for a mafia role. Point a finger...much less scary to a Casting Director," she laughs, "...and if you are auditioning as a cop, don't hold your 'finger' gun like a gangster; look the role!"

For actors, "Take a moment before the scene begins and take a moment when it ends so we know you're done. And just talk...most actors don't get the role because they are overacting. My guess would be 80% of the actors out there could bring the way they 'act' down several notches. Keep it real."

Before hiring a casting director, one needs to have a finished script, preferably broken-down, and some kind of financing. "Please don't call or email me saying you have a wonderful script and just know you can get money if I attach a list name to your project....Hollywood doesn't work that way unless you personally know the talent you want. Call me when you have seed money or are financed."

With the substantial work she has done, Helen likes new media, too. "I love webisodes! I think it is such a cool way for the independent film maker to get their work out there and be seen...I'm hoping it helps them get distribution deals." She also notes, "I prefer film; you have a little more time to cast roles than you do on television and you don't have 30 network executives that have to approve your choices before decisions are made."

Besides her casting work, Helen also works to provide education and training. Coming in March, Helen is bringing Peter Pappas, casting director for Two and a Half Men and Big Bang Theory, to Scottsdale, Arizona. "It's geared towards serious actors that would like to start networking the Hollywood casting directors," says McCready. Among the many features, actors will learn auditioning for co-starring roles, sides for guest starring roles, nailing co-star & guest star auditions (and the differences between them), how to stand out and book co-star roles, and the differences between those who book work and those who don't. "We still have a few slots available and we're always impressed with the professionalism here."

For more details on the casting director workshop (including details and payment information), visit Helen Wheels Productions, LLC. You can also visit Helen McCready's site for more information and get yourself added to the Helen Wheels Production database and watch the Agency Pro video.

Low- and no-budget filmmakers can get great talent for their production and actors can find work

Don Livesay, Arizona and Utah Executive Director for the Screen Actors Guild, loves new opportunities for actors in Arizona. Don's job is to administer contracts for film, television, internet, new media, and a host of other venues for productions looking to utilize SAG actors. "We have the best talent in the world and the best in Arizona," says Livesay, who has been with SAG since 1981.

For independent filmmakers looking to make their low- and no-budget productions, it can seem out of reach to use SAG talent, but there are some great resources many independent filmmakers may not be aware of. Pointing to the SAGIndie site, Livesay notes the Short Film and Ultra-Low Budget Agreements are powerful resources for filmmakers. The Short Film Agreement covers films budgeted at less than $50,000 and less than 35 minutes in length and allows for deferred salaries as well as both professional and non-professional talent. The Ultra-Low Budget Agreement covers features with a budget of less than $200,000 and features a day rate for talent of $100 a day. Many first-time filmmakers may not be at that point, but after a few films, and a small amount of money coming in, one can be in a position to hire SAG actors. “The advantage of SAG actors is that you are getting someone who’s saving your time and money - not dozens of takes; staying on schedule and under budget.”

"It's best to involve SAG as early as possible in the production," comments Livesay. This allows Livesay to provide a contract that best suits the needs of the production. It gives you the advantage of professional talent without the costly dangers of numerous retakes and with the high-quality standards of professional actors. "With non-members, it's a gamble. The difference between professional and non-professional is quality," notes Livesay. Even if it’s outside of your budget, Livesay notes, it’s best to involve SAG “in the early stages of production so they can be a partner. SAG wants to make the project happen so performers will have work.”

For actors, the advantages of joining SAG are many. Among other things, a pension, insurance, safety, proper handling of credit and royalties (even across multiple property ownership), and, of course, performance eligibility for big-budget productions. Livesay encourages performers and actors or anyone doing a film to consider SAG.

Don Livesay encourages filmmakers and actors to contact him at the Arizona SAG office, (480) 264-7696 or toll-free at 800-724-0767. You can also contact Don via email at dlivesay@sag.org. For filmmakers, have a look at the SAGIndie site to see what advantages SAG can offer your production, download contracts, submit a casting breakdown, and find valuable filmmaker resources.

Independent film is a passion for Tucson insurance professional

Long-time Tucson, Arizona resident Taylor Davidson left the banking world for insurance and hasn't looked back. He was approached by a friend, an independent filmmaker, who felt they weren't getting a good deal on their production insurance and asked Taylor for help. Davidson, who was already dealing in property and casualty insurance, researched the market and found a viable solution for his friend. Since then, he's provided his niche products to a variety of productions across the country and around the world.

When asked why he sells production insurance, Davidson says, "I love independent film... I see filmmakers with no-budget productions grow into bigger and bigger projects..." and his unique position as one of Tucson's only production insurance providers for the last 5 years lets him see this growth. He says independent filmmakers and enthusiasts are like hikers: "they will go through a long, painful journey just to find that one perfect peak." The experience is shared by viewers and filmmakers alike.

Not every filmmaker can afford production insurance, but Davidson doesn't mind. He encourages filmmakers working on a variety of projects to contact him. Even if he can't get them a policy, he enjoys watching them grow and grow until they can put his products to use. From his handout at a recent IFASA meeting, General Liability insurance is the most basic insurance you can get for your production. Third-Party Property Damage is also important especially if you plan to shoot on-location - in the event someone on your cast or crew causes damage to the location. "Insurance is about transferring risk not eliminating it... a good insurance agent will work with you to get you the right policy for your production and minimize your risk." Of course, insurance isn't perfect: "liability doesn't end where your insurance does and insurance has nothing to do with whether or not you get sued... confirm with your agent everything that goes on your policy."

Low-budget independent filmmakers should always factor insurance into their budgets. Production insurance may seem expensive when you have a limited budget, but it could be far worse without it. Unforeseen events like equipment damage, injury to talent, damage to third-party property, or even intellectual property (like copyright or trademark) issues can come up and ruin even the best-planned production. Needs like unmet SAG contract requirements, payroll, city and other special certificates, and insurance to cover a location are not uncommon, but can be handled easily. "In order to have coverage, productions need to be produced/owned in the name of the insured..." Taylor notes, pointing to low-budget independent projects where cast and crew take on liability by renting equipment or buying services that insurance can't cover because it wasn't in the production's name.

Remember: not all insurance policies are built the same. "Many policies will remove coverage in order to lower premiums," but the production will suffer if something happens and it's not covered. "Blanket coverage is often removed which can save on premium, but can cost the production more than the extra premium in the long run."

So, whether you have millions of dollars or only a few dollars, Davidson encourages filmmakers and producers to contact him. "If I can't help, I usually know someone who can," says Davidson with a smile.

Taylor Davidson says he likes working with independent filmmakers because he gets to watch them grow. His advice for filmmakers is to have a large number of scripts and/or projects in the works and to choose the projects you can do within a specific, realistic budget. "Start with small projects and work your way up to bigger and bigger projects. Remember your bottom line. Use what resources you have, not what you want your resources to be." Also, he says filmmakers need to remember that projects should entertain or, at least, engage the audience. He comments, "filmmakers in Tucson need to be more realistic when it comes to their films - films can be art, but if they don't engage the audience they won't be as successful."

Taylor Davidson is a licensed insurance agent working with The Ruboyianes Company, PPLC (pronounced RUBY-AHNESS) in Tucson, Arizona. You can contact him at his office at 520-577-1040 or via email at taylor@ruboyianes.com whether your production is in Arizona or anywhere.

Amazing Passion and Enthusiasm at Arizona Film and Media Expo

On Saturday, January 23, 2010, actors, filmmakers, producers, directors, and businesses turned out not only to support their beloved local film industry, but connect with others in the community. The entry fee more than paid for the numerous free seminars held throughout the day on topics of interest to film and media in Arizona. Giveaways and raffles all day long were frequent and plentiful.

The Arizona Film and Media Expo (www.azfame.com) was created by Depleting Shadow Films (www.depletingshadowfilms.com) owners Richard Ryan and Dana Skvarek in conjunction with the Arizona Film and Media Coalition (www.azfilmandmedia.org) with 20% of profits from the event being donated to the Arizona Film and Media Coalition to promote film in Arizona.

Among the free seminars were local Steve Briscoe on the Art of Comedy Writing, Phoenix filmmaker Webb Pickersgill on Quality in Independent Film, Jeffery Weissman on acting, long-time screenwriting professional Lee Shargel on screenwriting, the Torch Theatre Improv on Principles of Longform Improvisation, and Mike McGinn and Gay Gilbert with the Arizona Film and Media Coalition on Filmmaking in Arizona and the future of Arizona’s Film Tax Incentive program - a vital program that can make millions of dollars for the state by bringing in filmmakers from California, New York, and the rest of the world.

Among the giveaways and raffles were a $250 gift certificate for plastic surgery, numerous t-shirts, DVDs, and numerous other exposition tchotchkes. Each of the seminar speakers were also available at their respective small booths and were happy to connect and speak with the local professionals. Richard Ryan commented that next year’s expo would be three times as large.

An Evening with Craig Huston: The Life of a Career Assistant Director

Craig Huston is a name you might know and might not. He’s not an actor or director or producer, but he’s had a career spanning decades. He has worked on 25 feature films and several TV series. I had the incredible opportunity to listen to him on Monday (7 December, 2009) at the December IFASA meeting.

Visit Craig’s IMDB page. He is a long-time career AD. What an amazing career!

The purpose of Mr. Huston’s discussion was to enlighten the Tucson indie film community on what it is an AD does for a production. Many things I learned I did not know and many I kind of guessed, but he definitely filled in many of the details. His experiences seem to mirror that of another career AD, Peter D. Marshall.

Craig started with some of the basics of what an Assistant Director is and does: first of all, the AD is NOT the director’s assistant (that’s listed in the credits as “Assistant to the Director”). Many seem to think an AD is there for the Producer. This is closer to the truth, but it isn’t the whole truth. Craig drew a diagram on the whiteboard in the room we were in. The circles intersected so there was a small space shared by both circles. On the left, he wrote “director” and “creative” and on the right, “producer” and “money.” In between is where the AD lives.

Some of the duties an AD performs are detailed below:

• Break down the script (using something like Movie Magic) - maintain overall cohesion with the script. The AD in this case needs to know the script better than anyone else on crew.
• Do the location scouts; figure out where and when to shoot and, more importantly, figure out where you will NOT be shooting so the crew can determine where things like equipment will rest, cables can run, lights can stand, microphones can record sound, cameras can record visuals, effects can go, etc.
• Manage extras - determine where, how many, and the overall look of the “crowd.”
• Get the department heads (like costume, makeup, effects, grips, the producer, director, DP/Cinematographer, etc) and break down everything in a meeting.
• Handle production reports to the producer who will want to ensure the production does not go over budget.
• Act as Tech Scout - take the production heads to the various locations so they can see where they will be shooting to take care of any technical details before shooting begins.
• Handle pre-production rehearsals if possible.
• Manage the hair, makeup, and hair tests so the cameraman can determine which lenses, f-stops, and film stock(s) to use.
• Manage photo sessions
• Handle any pre- or post-production second unit footage (B-Roll).
• Handle all the scheduling for cast and crew. This is a ridiculously important part of the AD’s duties. A good AD shines like mad here. A good AD can get the schedule to within 30 minutes of real time. The AD may also have to speak with the director to ensure the production continues on time (and on-budget). There is a massive amount of work involved here - juggling crew, cast, sets, locations, and budget to fit within a pre-designated schedule (ie: you have xyz number of days to shoot for the budget…).
• Talk with the producer. Something interesting Craig mentioned: in film, the director usually picks the AD; in TV, the producer picks the AD. Talking to the producer could mean having a schedule to keep and the AD will need to report.
• Fun info I didn’t know: The final shot is called the Martini Shot. The second-to-last shot is called the “Abbey Singer” because this famous AD would always report to producers phoning in to the production (then largely done on soundstages) that they had just this shot to do and one more to prevent the producers coming to the set. Craig related a cool story of shooting in Russia where the crew spoke no english, but still knew what an “Abbey Singer” was.
• The AD is responsible for safety and security on-set.
• The AD is generally the most visible and vocal person on-set.
• The more communication the AD has with the director, producer, and other persons on set and involved with the production, the better the AD will be at their job (important for those who have never really worked with an AD in the past).
• Some important notes: take care of your cast and crew. Show them you value their time by not taking outrageous breaks, have a schedule and keep to it. Don’t think that you can keep beating a cast and crew to do their thing when you aren’t paying them. If you can’t afford to pay cast and crew, treat them as if you were, anyway.
• The AD can be a whip-bearer here; telling everyone what to do and when. Also, the AD can develop a schedule that works for everyone so they don’t have to.

Finally, I know I am good on-set, but I am not this good. Craig has shown me I don’t really want to be an AD, I really want to direct. I’m better at it. I like being able to trust the people on my crew to do their job(s) without concern.

Thanks for your time and effort, Craig, it is greatly appreciated! Later I hope to do a more formal interview here.

Are you and AD? Would you like to share your experiences? Let me know here!

Anticipation

Well, that's it. I'm getting ready for yet another production. This time, it's a web series about an alien and some interviews. That's all I have right now. No script (even though I usually request to see a finished script prior to starting any new project), no money (that, I'm used to), but some great talent. I feel that usual trepidation over the new project. Will it be fun, will it be work, will it be a waste of time? Gads I hope not.

Keep yourself in line with yourself and you will be good to go. Dig this article: Ten Commandments of Filmmaking by Peter D. Marshall. If you don't already subscribe to his blog or site, make a point of doing so. You can also follow him on Facebook and he makes some great links for you to check out. He's an industry insider and has been for decades.

So on to the anticipation and using it to your advantage. I like to imagine what the shoot will be like long before the shoot actually begins. I imagine the set, how it will look on the script, how it will shoot out, how we can get it done on time, under budget, and with extreme professionalism. There are so many factors involved, it can make your head spin.

First, make a list of everything you think can and/or will happen. Since they're all running about in your head, write it down and elaborate wherever you can. Next, you should be having meetings of some kind with your producer, director, DP, costume, makeup, lights, grips, etc., etc. to nail down the details for the shoot. Now, you're getting prepared. Turn that nervous "I don't know" energy into something that will help you rather than harm you.

Next, let's do some blocking: you have the script, let's get it all blocked out so it looks good. Lean on the director for that one. Figure out what they have in mind. Now, take charge: Get the direction from the director and make it all happen. Don't be afraid to yell or make mistakes - it's gonna happen. Just go with it.

Now, get the crew ready once the blocking is done. Let the actors get ready and rehearse. Let them run lines and prepare. Now, you get the crew ready to light it, record it, shoot it, etc. Ready? Good. Ask the director if they're ready. When they are, make your calls: quiet on set, roll camera (get confirmation), roll audio (get confirmation), places, cue any other pre-action things ready (like effects or crowds), slate (if you are using external audio) - call scene, take, audio track, and wait for the director to call action. Watch and listen to everything.

I usually wind up doing script supervision, too (when I'm AD) so I'll end up doing that as well. Sometimes you get your own script sup/continuity supervisor, too. That's like disco, baby.

My ramble is nearly done. All that nervous energy can translate into real results for your production. Make it all happen the best way humanly possible. Imagine everyone saying they couldn't have done it without you. It happens. I know. It feels good and I thank everyone profusely for their kind words and assistance. Remember you are a team no matter what happens.

Be a team.