© Turbulence Films

PARIS, France – Serbian filmmaker Aćim Vasić went the extra mile to make his recent short film ‘8’ which has become a true success story. The film, a satire of two soldiers who cross each other on the battlefield trying to outwit each other to survive, has been an epic undertaking.

Vasić, an up and coming director spent over a year and a half making his film, facing incredible obstacles, trying to find money and bringing people onboard the project. When it came to filming in Switzerland, he was stopped at the border without a passport, and had to find a way to get in the country. The director wanted only the best outcome for his movie, and managed to not only get a 5.1 surround sound mix, but a soundtrack composed by Stribor Kusturica, the support of Mathieu Kassovitz and a contract with world famous production company Partizan. All this he achieved without any major film festival screening.

Mathieu Kassovitz “Aćim did exactly what any wannabee filmmaker should do: find a way to mix good story and cheap budget. It’s the most important skill an independent director should look for when starting his career in this cruel world of cinema. His film is smart at every level and gives a hint of what he could accomplish in the future. That’s what short films are all about. Good luck to him, he is going to need it, like we all did.”

Discover how Aćim Vasić made his film a reality and what it takes to make a successful short.

© Turbulence Films

What inspired you to make this film?

Well I wrote a WW2 script about 4 years before this one, but I never managed to realize it, because of money and other smaller problems. So one day I thought about why don’t I just do something cheaper, but still in the war…just 2 actors…simple conflict…and the idea came out.

Can you tell us about how you made the film in Switzerland?

A huge credit for this goes to Luc, the producer. The locomotive of the film. We did it there because he is based in Switzerland so it was much easier to organize everything. Although it was a very small budget, it took me about year and a half to collect it, and then start the Switzerland part. I’ll never forget that it all started very tricky, because the Swiss border patrol didn’t want to let me in when they saw I never brought my passport, being that I thought the ID is enough, but since I’m not French it isn’t, and it took about 1h for them to check me inside out and for me to explain them I’m just an “artist” who wants to do a film there, and they let me in – in the end, with a word: “Next time bring your passport and a winter jacket” – (because I had 5 hoodies on me) It all had a very unlucky start, but over all we were very lucky throughout the production, from the postcard of the forest and snow which was still waiting for Arnaud’s focus in early March 2009, and without having no problems until the end of post production.

© Turbulence Films

Where did you find the costumes and props?

Most of them I bought in Paris market at Porte de Clignancourt, and a couple of things from a market in Serbia. Jérôme was great combining them all and making them look how they were in the film. The rifle was rented from Geneva and the parachute was a real ww2 German parachute from a friend of my father. Also a couple of things like the handkerchief and the fake barrel (for close up shot ) and the landmine, were all made by a few friends of mine. And in the end, Nicky and Guillaume, when they fit in the costumes, they just made them alive. I was really happy to have them playing these parts and work with them throughout these 5 freezing days. It was a great time and experience.

How did you get Mathieu Kassovitz involved in the project?

I met Mr Kassovitz about a year and a half ago. I tried to contact him in any kind of way and my persistence and his modesty made it happen. It was a half an hour meeting, where he gave me a few nice advices and suggestions. Then about a year after that I finished this short film and was persistent again to refresh the connection with him and show him the film. He was and still is before all a great person, because he could’ve just ignored me, being that I’m not a son of any filmmaker and was just one in a million who want to contact him or someone in his position…but on the contrary, he really liked the short and connected me with Fred, who did us great color correction.

Was it important for you to have a 5.1 surround sound mix?

The sound design and mix were done by two ‘Alexander The Greats’, from Belgrade. Well as for most of the film, it just added a new level to the entire project. It just put an air in the flat football and 5.1 made such a huge difference in the atmosphere that you can probably imagine.

© Turbulence Films

Was it hard to get people on board to work on your film for free?

In a way it is always hard to ask someone to commit their hours or days for something of yours, and not to pay them anything. But if that is the case, it is much easier if they like the project. It gives them motivation and enthusiasm to do it all the way and give their best. That’s our entire cast and crew basically. All the people on the set, who were freezing for 5 days just because of some “silly story about 2 soldiers” – you know what I mean. Many of them told me after they were really happy to work on it and that it was a great time, I guess that’s the most important, that people have great time on set, at least that if they are working for free. Then later to have the same situation in post production with tireless Khaled the editor, Jeremie the special effects man, and Fred who I mentioned, and also Stribor and Čeda, and my sister Lena who all three made that beautiful music. Sometimes you work for money, and sometimes for passion. I guess if these both are possible that’s the best combination, but it’s a hard way to get to that stage

How did you get the interest of Partizan?

Well again, it took lots of persistence to get in touch with them, and in the end they saw and liked the short and we had a meeting and decided to try and see how it goes in our new relationship. Hopefully it will be fruitful for everyone. And again it was important that people who I met there were before all very good people, who had time, and understanding and gave me a chance. Since we heard stories all around that industry is full of complicated personas, I guess it is great to meet some very cool and down to earth people.

Designed by Milan Janić

Pffff, I’m really not so experienced that I can give any very useful advice, but basically it should be a simple strategy. You just have to know what do you want to make, and why, and if you truly believe in it – that will hopefully give you enough energy to just keep pulling like a mule until you do it. And of course, always try to be yourself, that’s the most important. That will give your personal stamp on your film or showreel. You will run onto hundreds of advices, you will get confused as many times, and you will meet people that don’t like your work, it is normal and you just have to accept it. And no matter what is your nature, try to put your ego in the drawer and not use it too much, and be able to listen and speak to everyone around you, you will be surprised how much you can learn from so many people that you never really imagined that could give you an advice, idea or inspiration. And what a friend of mine Merlyn says, never forget that before everyone else, you have to like your film. Then it is truly yours.

To find out more: http://www.turbulencefilms.ch

‘8’ will screen at the London Soho Shorts Film Festival this July

© Turbulence Films

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Teressa Raiford

DALLAS – USA – Business development and management consultant Teressa Raiford is taking the entertainment industry by storm with her company Intrinsic Entertainment Group. As an entrepreneur, Teressa has worked with mainstream clients and has supported projects for the world’s biggest artists such as Kanye West, Akon, Ice Cube and Beyonce Knowles. She has conceptualized innovative campaigns that have reached millions across the world creating a new standard in online marketing for major brands, events and individuals. Raiford has organized iconic events such as the Presidents Day Celebration with ACA United for Barack Obama and the Ed Hardy Runway Show featuring the Dallas Cowboys.

Teressa likes to keep a low profile, but her determination to make a difference in this industry makes her quiet approach felt, being heavily involved in philanthropy, particularly with the Fuller Center For Housing of Greater Dallas a charity started by Habitat for Humanity founders Millard and Linda Fuller.  Miss Raiford is handling the marketing and program development as a Board member and working in Partnership with The Oak Cliff  Network of Pastors by creating outreach services and fund raising efforts.

Find out her successful mindset and viewpoint of the entertainment industry exclusively on Film Industry Network.

How did you get into the music industry?

© Jen Maler (Kanye West and Tony Williams in the studio)

I started my career in the music industry back in the early 80′s.  It all started with the break dancing, popping and rap movement.  I had a cousin “Larry Bell” who was a well-known producer and Deejay.  I would show up at all of his summer time events taking place at local parks to check out the music and different bands that would come to Portland as entertainment for the handful of minorities that lived there.  Rappers and producers would start coming by my grandmothers house to ask me for advice on their music and we would work together to create new styles that would make them more popular then the next crew.

What helped you become successful, and did you have any mentors to guide you?

The key to my success was always taking the industry seriously.  I always felt there was a business aspect to promoting and developing the art and culture of HIP HOP!  This was a proven method when I saw the movie Breakin’ after that movie came out it was enough for me to start formulating merchandising strategies for the BRANDS we were creating.  I had family members who did “air brushing”, “beat boxing” my cousin Clarence was well known for dancing moves called “poppin” as well as winning several rapping awards.  We knew Music would and could take us anywhere we wanted to go.  As a woman in the industry it was always hard to find mentors who would take me seriously.  I had friends who needed my help but would not make me a useful component of the TEAM.  That always made me work harder as an individual because I felt that I had to prove my value to them.

Do you work only in the music industry or in other industries?

Music is a multi-billion dollar industry and it is the formulation of business, marketing and promotions that carries the consumer to the product.  This formula is used in all product and service based industry so I have created my niche based on the premise of doing “Good Business.”   Being known for doing “Good Business” has allowed me to work with companies of all types.  I have clients in transportation, religion, medical, housing, sports, gaming, and investments… I consider myself as a business architect and my goal is always to create blue prints for success.

Teressa Raiford and Dr. Margaret Noguera, MD (Executive Director for FCFHG)

What is your role in social media and performance marketing and how is that important?

With the diversity of my clientele I have discovered that the use of different promotional products partnered with entertainment based events is a valuable asset in reaching broader access to consumers.  Social media is a launching pad into the mindset of all demographics reachable online.  I usually start my projects with market research and by following trends for those demographics.  Once I have the data necessary I choose an array of promotional tools to reach the audience and market to them in a way that seems both familiar and exciting.  I feel that interaction during the sales process is the best way to bring value to your products.  Include the consumer in the campaign and you will always be successful.

Having set the standard for video contests back in 2008, do you think this is a good way to promote a brand/artist?

Absolutely!  I feel that in the 21st century everyone is a star in their own right.  Inviting the consumer to be a part of your sales and promotional campaign is a strategy that will continue to captivate and motivate them to buy or recognize your products.  Of course it will increase sales and your companies bottom line.

Ms Raiford is currently working on several major events including a production and campaign for the United States Junior Olympics and supporting and event for Boxer Mike Tyson with gaming company Bringit.com which is slated to kick off in July 2010.  There are several projects in the building stages however Raiford feels each one is equally important regardless of the popularity of her clients.  Miss Raiford says her job is “Branding” and for a worker bee like her the job is never done.

For more information log on to : http://www.teressaraiford.com

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Courtesy of Europa Corp

CANNES, France – French action director Chris Nahon is a multi-talented filmmaker with a fantastic career, directing movies such as ‘Kiss of the Dragon’ starring Jet Li and French blockbuster ‘Empire of the Wolves’ with Jean Reno in the lead.

Chris is well known for his commercials, and has also delved into photography; he is meticulous in his decisions to create suspense, atmosphere and intrigue in his direction. His first movie, ‘Kiss of the Dragon’, produced by Luc Besson is gritty and visceral, and shows a dark underworld of corruption in Paris. The film included an international cast with renowned French actor Tchéky Karyo, who played an iconic role in the 1990 hit ‘Nikita’, written and directed by Luc Besson.  Chris’ most recent film ‘Blood The Last Vampire’ came out in 2009.

Discover the success story behind his achievements and his views on the role of a director.

In conversation with Chris Nahon :

Languages English (translation) / French

How did you get to direct your first major movie ‘Kiss of the Dragon’?

Luc Besson asked to see my demo reel with my short films and commercials. He had heard of me beforehand. I then had a long rendez-vous with him and he asked me to direct the movie.

Is it important for a film director to be a good editor?

A film director doesn’t need to be an editor but must understand perfectly the language of a montage with his or her own perspective. A film is made in three big stages; the writing, the shooting and editing. Each step has its own importance and you can’t make a mistake.

Who did you most enjoy working with on your previous movies?

© 2001 - 20th Century Fox - All Rights Reserved

The technicians working closely on the direction, The Chef Op, 1^st AD, 1^st AC and of course, the steadycam operator, if not I would be framing the shot myself. All these people are highly valuable and I try to have them with me on all my films.

Would you be interested in directing different genre movies in genre, which you’re not familiar with, and are you in the process of working on a specific project at the moment?

I work on a lot of projects and try to do many that are different to what I have done before. My biggest frustration is the lack of freedom a director has on big projects. The last one was the perfect example. The script was changed during the shoot, and I had finished the editing only to have the rushes taken by the production company and re-edited, including special effects and sound design without my consent. They never showed it to me and refused to take my name off the credits.

Yes, sometimes it is very difficult to do your job with the respect you believe is merited. On ‘Empire of the Wolves’, the film’s production was halted before shooting the end, with the script changed and the budget cut into three parts. Finally, I was never so free as with Besson who notably doesn’t have this reputation.

What would be your advice to young filmmakers looking to enter the industry?

There is no rule. What matters is your own vision and to be clear about it.

© Chris Nahon

Comment avez-vous réussi à devenir le réalisateur de votre premier long métrage « Kiss of the Dragon?

Luc besson à demandé à voir ma bande démo, avec mes courts métrages et mes pub. Il avait entendu parlé de moi. J’ai ensuite eu un long rendez vous avec lui à l’issu duquel il m’a confier la réalisation du film

Est-ce que c’est important qu’un réalisateur soit un excellent monteur ?

Un réalisateur ne doit pas savoir monter mais doit parfaitement maitriser sa propre grammaire sinon la grammaire du montage. Un film se fait en trois grande étape, l’écriture, le tournage et le montage. Chaque étape à son importance et aucune ne peut se permettre de pêcher.

Quelles étaient les relations professionnelles les plus satisfaisantes lors de vos derniers films ?

Les techniciens proches de la “réalisation” Chef op, premier assistant, premier assistant camera et éventuellement steadycamer, sinon je cadre moi même. Tous ses gens me sont chers et j’essaye autant que possible de les avoir avec moi sur tous mes films.

Est-ce que vous vous intéresseriez à la réalisation de films d’un autre genre que ceux pour lesquels vous êtes connus ; êtes-vous en train de travailler sur des projet spécifiques en ce moment ?

Je travaille sur beaucoup de projet et autant que possible différent de ce que j’ai fait au paravant. Ma plus grande frustration reste le manque de liberté du réalisateur sur des “gros” projets. Le dernier étant l’exemple parfait. Le scénario a été modifié sur le tournage, j’ai fini mon montage et la prod a récupéré les rushes pour remonter sans me consulté, truqué et sonorisé le film sans jamais me le montrer et refusé de retiré mon nom au générique. Oui parfois c’est très difficile de faire son métier avec le respect qu’on pense mériter. Sur l’empire des loups le film avait été arrêté avant de tourner la fin, le scénario changé et le budget coupé en trois…Finalement je n’ai jamais été aussi libre qu’avec Besson qui n’a pourtant pas cette reputation

Quels seraient les conseils que vous donneriez à des jeunes cineastes qui souhaiterait faire carrière dans le milieu du cinéma ?

Il n’y a pas de règle. Il faut avoir une vision, sa vision et être le plus claire avec soi même.

To find our more about Chris’ work : http://chrisnahon.com

© Chris Nahon

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April 11, 2010
By Angela Ledee

Antonio Saillant doesn’t realize he is on his way to becoming very successful despite finding himself out of his depth when connecting with Hollywood’s best.

Antonio said ”So much of my career was based on luck and dreams.  Perhaps you’ll be lucky and your dreams will come true. My Mother always said that luck happens when the timing is right, but you must always be prepared. Preparation meets opportunity and I have been given extraordinary opportunities to work with filmmakers much before I even deserved to work with them.  I learned so much along this road but the trick is to trace the dots along the way.  I owe so much to my Mother and God as they are my source of luck.”

Antonio believes that any good result will necessitate proper preparation, planning and strategy.  Many professional athletes and executives use the ‘football team’ model as an example. Their preparation begins way before the game. They scout, review films, meet and greet and analyze the other team’s strengths and weaknesses. Then they create a strategy to ensure a win. You may find it helpful to think about the result you want, and then work to make it a reality. This should be a part of your preparation process. This is sound advice that can be translated and applied to networking.

Antonio is best known for his amazing networking abilities and charisma.  His networking led him to meet and learn from high profile industry professionals as well as being able to gain trust and friendship from his mentors by simply being genuine.

Antonio’s long time collaboration with his mentor, Ted Kotcheff, led to the idea of one day working together in producing upcoming film projects. Kotcheff directed many U.S. films throughout the 1970′s and 1980′s, with perhaps the best-known film being “First Blood” in 1982, starring Sylvester Stallone. In the 1990′s, Kotcheff returned to directing various television series such as Showtime’s “The Red Shoe Diaries” and NBC’s “Law & Order: Special Victims Unit” where Kotcheff is currently working as Director and Executive Producer.

Antonio also had the privilege to know Sydney Pollack, whose films received a total of 48 Academy Award nominations, winning 11 Oscars. Pollack directed more than 21 films and 10 television shows, acted in over 30 films or shows, and produced over 44 films.

Antonio commented “Learning from Kotcheff and Pollack was definitely a stepping stone in the right direction. In order to gain someone’s friendship in the industry, when meeting a director or a producer for the first time, be yourself. Everything you read, learn or experience changes who you are and your goals for who you want to become. You should strive to constantly develop your relationship as you develop yourself.”

In time, Antonio formed his own company “Angel Light Pictures” with the goal of developing films for a global audience. Antonio worked with Director/Producer Robert Stock at Stock’s Eye, an independent production company which produced the Sci-Fi thriller, “The Ascension” starring Corbin Bernsen. Antonio also worked on the independent film “Heterosexuals” produced by Tony Award Winner J. Robert Spencer, who played Nick Massi in “Jersey Boys” and who is currently starring on Broadway’s new musical as Dan in ”Next to Normal.”

Future works from Antonio include a football drama entitled ”The Golden Knights”, two comedies entitled “If” and “Pumping Up”, as well as thrillers “Wormhole”, “The Expendables: Soul Harvest” and “Gripped”.

Antonio is true to his beliefs as he remains humble and continues to receive much praise for his works.

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His story is inspiring as it shows how determination even at an early age can pave the way for a bright career. As the competition is fierce in any industry, to be successful takes courage and mastery in a certain skill.

Find out how Dertrick has made it to where he is today, and see how you can apply his success to your own future.

In conversation with Dertrick Winn, Jr.

What made you want to become a journalist?

I always knew I wanted to do something in the industry that involved music and writing. When the idea of music journalism was new in my mind, I had already had a lot of experience writing songs, but I knew I had skills as an editor and a technical writer as well. As I did more shows performing my music, I realized that it was easier to get into a show, especially behind the scenes, as a journalist than as an artist. After that, I started writing reviews for shows and filming events, and I began to love it. I figured it was another route for me to pursue to get my foot in the industry, just in case I couldn’t get in as an artist or a musician.

Can you tell us about how you got your first writing assignment?

My first official writing assignment as a journalist was when I was 13 years old in the 8th grade. I was in the choir throughout middle school, and in 8th grade I was eligible to run for an office position for the honors choir. I put together my campaign and ran for Choir Historian, and won. It wasn’t long after that I got my first writing assignment covering one of the school dances that the choir was sponsoring.

What are your hopes and dreams?

To inspire people all over the world to be the best of themselves through music, lyrics, art, words, success, and acts of selflessness. Also, to be recognized as one of the most talented artists, lyricists, songwriters, music journalists, and musicians of my generation.

Who would you like to interview?

Pharrell Williams. Growing up as a kid, I had a lot of trouble fitting in with other kids because I was into some different things, I was kind of a nerd, and being African-American, I was teased a lot for doing things that were considered “white” by the other black kids at my school. I was a skateboarder, I wore skater shoes, I loved Star Wars, I was taking Japanese, I listened to rock music, I was in choir, I loved to read and because of that I was very well spoken. You could say I was a thinker, I always had new ideas, but it was hard to express them to my peers who really didn’t understand me. Pharrell was one of the first music artists I could almost directly relate to. He showed me the best way to be cool is to be yourself, no matter how nerdy or different you might be to other people. Nowadays it seems like being nerdy is trendy and fly. I really don’t like that, because I remember being teased for my nerdiness. But it’s cool, because when I grew up I realized that all the real cool kids were nerds, and I was the coolest (laughing)..Anyway, Pharrell Williams is a big inspiration to me, I’d love to do an interview with him.

Do you have any tips for people looking to break into journalism?

Look for opportunities where you can learn about journalism and grow as a journalist. One way is taking journalism classes in middle school and high school and learn that way. I couldn’t take journalism in middle school because of the demand of my honors classes and electives and my schedule outside of school, so what I did was cover events around my school, in Austin my hometown, and my own events as a performer and wrote about them on a regular basis on my MySpace blog, and I updated it so regularly that I began to build a following, mainly of my friends, but still people were checking back regularly to see what I had to say about anything. The biggest opportunity I have had to date that really helped me launch my career as a journalist was getting accepted into Grammy Camp 2008 and then again in 2009 in the Music Journalism Career Track. Grammy Camp gives you so many exclusive opportunities to work with the industry’s best. My participation with the Grammy Foundation is still opening doors for me. I have had regular opportunities as a journalist after Camp throughout the year, so I would definitely recommend Grammy Camp for any teen aspiring to any career in the Music industry. I would also say know how to find a story to cover. If you can’t find a story, you can create a story by finding anything interesting and writing about it. It’s convenient to write about things you like, but a big story might not always be something you like, so it’s good to practice writing about all kinds of things. But if you’re given an assignment that seems unjust or not you, don’t sell out. Keep a guilt-free conscience and write what’s real.

Dertrick’s previously recognized works include music journalism for Grammy Camp 2008 & 2009, the Grammy E-Team 2008 & 2009, and his review “Grammy Camp ’08: A Reflection”, which was recognized by The Recording Academy in October 2008 and the Texas Chapter in December 2008.

Samples of work can be found at www.grammycampblog.blogspot.com

“Grammy Camp ’08: A Reflection”

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Jesse has extensive knowledge and experience in many areas of entertainment including domestic and international acquisitions, sales, distribution, marketing and promotions, with a dedicated mindset towards helping his clients achieve their greatest potential success.

Film Industry Network gives you an in-depth look at how he made his career thrive.

In conversation with Jesse Rosenblatt:

How did you progress in your career?

The first thing I did early on was to stop listening to people who kept telling me that working in entertainment was an impossible dream (and there were lots of them).  I went to law school seeking to get into entertainment law and to eventually work for a major motion picture studio.  That was my objective.  And even though I had no idea how to make that dream a reality, I just knew I was going to make it happen.

I spent time interning for free with a small entertainment law firm named Rudolph & Beer while I was in law school in order to get experience with film contracts.  I got the opportunity to become quite hands on with several independent film projects we were working on.  One film even got nominated for an Oscar, which was immensely exciting.  They also repped Britney Spears at the time so I worked on some corporate matters for her.  I got to see her career explode right from the beginning, which was quite an amazing phenomenon to witness.

Upon graduation from law school, I had to face a tough reality – first year attorneys rarely get positions working in entertainment law, either at firms or in-house with entertainment companies.  As a result, I made the decision to go into practicing corporate law with a large NY firm.  I figured that learning how to be the best attorney I could be and developing a deep understanding of how to negotiate and structure agreements in a business context would ensure that I made myself a marketable commodity when the right entertainment position emerged.  I still knew I’d get to where I wanted to go and trusted and believed it would happen in time.

And since you never know where opportunities will arise, I made sure everyone I knew was aware of my desire to work in entertainment.  While having dinner with a friend from high school one evening, I mentioned to her that I still wanted to find a position with an entertainment law firm.  A light bulb went off this time and she mentioned an acquaintance she knew working at an L.A. law firm in their entertainment group.  She made the introduction and, many interviews and a cross-country move later, I started working in the transactional entertainment law group of Sheppard Mullin Richter and Hampton.

I immersed myself in the entertainment practice of the group, in both in their Los Angeles and New York offices.  I made it a point to work on as many different types of projects as possible, learning to be the most well rounded attorney I could be.  While there, I worked on transactions for almost every major motion picture studio and developed relationships all across the industry.  I handled an incredibly vast number of deals covering many aspects of film, television, digital and new media, advertising and promotions and branded entertainment and sponsorships.  It was invaluable for me to learn and be exposed to such a diverse amount of work flow and it was my time there that turned me into the lawyer I most needed to be to have the practice I do today.

My position there led me to my next adventure as head of Business and Legal Affairs at The Weinstein Company on the international side.

While at The Weinstein Company, I learned an immense amount about the international side of the film business.  I quickly came to understand why the international pre-sales and output deals are often the cart that draws the horse for many companies.  I also had the opportunity to become involved in complicated television deals and film acquisitions for the company.  Attending film markets was a part of my job there so I got the chance to travel, including a trip to Cannes.  It was incredibly intense but I learned more there in a relatively short time than I feel I could’ve learned working for any other film company.  The Weinstein Company is a truly dynamic place to work.

In 2008, in spite of what everyone was saying about the economic conditions, I left The Weinstein Company to start my own entertainment law and consulting firm, the Law Office of Jesse Rosenblatt.  My mission was to handle transactional work across all segments of the entertainment industry, but to maintain the flexibility to manage matters for corporate/company clients as well as individuals.  I now have the pleasure of being able to do work for studios and networks as well as for writers, actors and independent producers, and everyone in-between.  I get to take an active role in my clients’ success and to help guide them through the industry.  It is incredibly rewarding and I am truly grateful for the wonderful things that are happening with my business.

What would you say was your key to success?

The most important component of a successful career is building great relationships.  It’s essential to make networking and relationship building a part of your everyday life.  See it as part of your everyday business – to meet and learn from others who are in your field and/or who have already been where you’re trying to go.  If you keep an open mind and truly look for ways to learn from people and be of value and service to them, helping them however possible, doors that seemed impossibly closed can swing wide open.  I have received introductions to opportunities from people you would never expect so keep an open mind about those you meet and their ability and willingness to assist you.

I am also a big proponent of finding unobtrusive ways to follow up with people to stay on their radar, by demonstrating you paid attention to things that interest them.  For instance, you can send a link to a film trailer or to an article on a topic of interest to that person.  It’s just a great way to ingratiate yourself to people by expressing an interest in them and this enhances their desire to assist you.

Perseverance is also essential.  I never lost sight of my goals or what I wanted to achieve.  Despite the circumstances, apparent obstacles or the odds at any moment in my career, I knew that I would succeed in getting to where I wanted to go.  Many people feel like they have to have all the answers first or understand all the pros and cons of a particular course of action and by doing so, they freeze themselves into inaction, even if only temporarily.  There are no such things as “mis-steps” – they’re all just steps forward, even if you can’t see exactly where you’re headed at the time.  My suggestion is to take actions each day that instinctually feel right to you and learn from each one – for better or worse.  You can always readjust tomorrow and reassess which actions to take next but it’s imperative that you keep moving.  If you do that, you’ll achieve what you’re seeking.  Learn to trust your own intuition and you’ll often be surprised at the incredible places it can lead you.  Assume your credibility and assume your success.

How did you go about finding clients?

My clients come almost entirely through referrals and word of mouth.  I’ve built a vast network of clients, friends, colleagues and former colleagues and clients who recommend me to others they know in the entertainment industry.

I suggest spending as much time as possible with people in the industry and you never know where allies can emerge.  I know that, especially early in your career, you may feel at times that you don’t have much to offer to the other person, but do your best to find something – anything – to let them know you sincerely wish to aid in their success or business in any way possible.  You’ll be amazed where this can lead.  Remember, it’s not about what people can do for you.  It’s about how you can help others become more successful.  The increasing success of those around you will invariably generate more opportunities for you to thrive as well.

I do also have a website (www.jesserosenblatt.com) which serves as an informational tool to inform people to whom I’m referred about my background and experience.

What has been your most important career decision?

At this stage, making the choice to go off on my own to start my firm has been an incredible choice.  In spite of the odds and advice from many around me that the economic conditions were so challenging, I had a sense internally that the time was right to do it and I’ve never regretted it.  The growth I’ve experienced as an attorney and as a businessman have been exponential in the last two years.  On top of that, the world of wonderful people I’ve had the pleasure of meeting, so many of whom I just wouldn’t have had the chance to meet otherwise, has been such a gift.  The flexibility and opportunities are endless and I am in the process of considering many different directions to expand my business.  And the joy I derive from having control over my destiny each day is something I can’t see trading for any opportunity to work for someone else at this point.

Where will you go from here?

The sky’s the limit.  I’m working each day to learn ways to better serve my clients and help them become more successful.  I’m adopting some more creative ways to add value to their business and even taking a more active role in some of their projects.  I have plans to grow and expand my business and am also enjoying things as they are.  It’s a great place to be!

What advice would you give to others seeking to obtain experience in entertainment law?

In addition to the advice above about perseverance and fostering strong personal relationships, it is essential to maximize your opportunities to learn as much as possible about the different facets of the entertainment industry and the issues surrounding them.  You want to read, attend lectures, and, of course, receive hands on experience working with as many different types of transactions as possible.  This will make you marketable so when the right position that you may be seeking becomes available, you’ll be able to justify why you’re the right person for the job.

Things are changing so quickly in the entertainment business, particularly on the digital and new media front.  It’s a very exciting time.  To be successful, it is important to learn about and understand the business goals and issues surrounding new media since everyone is constantly trying to find new and innovative ways to monetize content.  I’ve seen some very exciting business ideas to try and be a piece of this changing landscape.  One that comes to mind is a friend’s company – KlickableTV (www.klickable.tv).  They’ve come up with a very exciting and flexible method to purpose and monetize online content (and deliver back end data about who’s viewing and how their responding to the content) and I’d be surprised if this isn’t where things are heading.  The more you can demonstrate an interest and knowledge base in these areas, the more valuable you’ll make yourself in the industry.

I wish you ever-increasing success in achieving all of your goals.

To find out more about Jesse, visit www.jesserosenblatt.com.

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CSI:NY

LOS ANGELES – From video games to epic Hollywood movies, Bill has composed thrilling soundtracks and scores for global audiences. He has created music for directors and producers including Steven Spielberg and DreamWorks Interactive (“The Lost World: Trespasser”), Oliver Stone (“Any Given Sunday”) and also the hit TV series CSI :NY.

Film Industry Network caught up with Bill to get an insight into his journey as a composer.

How did you get your first break as a composer?

It has been my dream to compose music for films since hearing the work of John Williams, Jerry Goldsmith and John Barry (etc. etc.) when I was a teenager. There have already been a bunch of “first breaks” in my career connecting the dots. But essentially, each positive thing that has happened has been through a friendship. If I traced it all the way back to my days at Berklee – those college friendships helped me. When I first moved to LA, a friend introduced me to a friend and before I knew it, I was scoring video games– which I didn’t know I would be doing up to that point. (I’m now up to somewhere around 50 triple-A titles I think). Then I met a director doing a Budweiser commercial on spec back in the 90’s, and a few years later he asked me to do the music for a film, and then a few years after that, he asked me to come meet with the show runner for CSI:NY.. and before I knew it, I was the composer for CSI:NY.. I had no idea I would be doing any of these things, and certainly didn’t see them coming.

Bill Brown and Tina Guo

What was the first movie you ever scored?

The first film I worked on was a wonderful short film directed by Jim Sonzero (dir. “Pulse”) called “The War Of The Angels”.

Can you tell us what the process is like for developing a completely original score?

I create original themes and textures for every episode of CSI:NY – and because it’s television, I only have a few days to go from blank page to completed score, so I really have to go with my gut reaction to the material, along with the conversations I have with the producers and writers.  Working on a film is an expanded version of the same thing in essence, where I usually have a little more time to start from that initial inspiration, the internal or soulful reaction to the material, and then really hone and craft it like an architect or a painter does.  There is an essence of the score, a theme or a series of themes (the elements) and the arc of those elements across the work (the structure / shape of the score) and finally the decisions on orchestration color (instrumentation, solo musicians, electronic elements, etc..) and recording  (the space, dynamics, how the instruments will be presented in the final dub).  All of these things are direct reflections of the film and the film’s needs.  The tempo and feel of the score are driven primarily by what is on the screen, and the soul of it comes from somewhere underneath the action, inside the action.

On the set with Cuba Gooding Jr

What level of involvement do you have with films and how do you work with producers/directors?

My recent experience scoring The Devil’s Tomb (dir. Jason Connery, starring Cuba Gooding Jr.) was just fantastic.  The collaboration was effortless.  One of my favorite things is hanging out with the director and the producers and really digging into the essence of the project, sharing ideas – taking everything to the next level through the music.  I always listen carefully to what it is they are going for in a scene, or in the arc of the film and strive to fully understand their vision – and then bring that into the music. We talk about the emotion, not in musical terms, but in terms that the director is comfortable with; dramatic terms… The same way they would discuss the scene with an actor, or a cinematographer.  The more I understand their vision, and the more connected I am with them, the better the result.  Sometimes it means going back into a cue or a sequence to bring some specific thing out musically we hadn’t discussed. Magic happens when we can focus in together and really get to the essence of things and understand what moves us about it.  Creating the score for a film needs to be both personal and collaborative.. that is the essence of film, we share something of our soul. We have been collectively inspired by the work and by each other. Being a part of that is why I love film, almost as much as standing on a scoring stage and hearing the music pour out of an orchestra – these are gifts that really cannot be quantified in words.

What can you say has helped you in having a successful career?

I think career for anyone is about relationships, and about creating opportunities through the quality of work you do. I honor my friendships, and I always do my best work. I put my heart and soul into it all, and I think that is what makes the difference. I’m excited to see what my next ‘first break’ will be…

Bill Brown

If you could choose, whom would you work with in the future?

I’ve been a big fan of David Fincher over the years and would love to work with him.

Do you have any future projects we should know about?

I’m currently looking for film projects for 2010.. You can find me on facebook, or through my manager at First Artists – Randy Gerston (contact info is on my site)!

To find out more about Bill’s work: http://www.billbrownmusic.com

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Gary’s expertise covers a wide range of areas with his work in philanthropy, as a speaker, author and consultant and is a go to person for the Hollywood A list.

Film Industry Network brings you an insight into Gary’s successful mindset.

In conversation with Gary Goldstein

How did you get your first feature made?

Every problem or obstacle is merely an opportunity in disguise, and that was certainly true when the WGA (Writers Guild of America) went on strike in 1988. That strike lasted the better part of a year, inflicted grievous harm – economic and otherwise – not only on the Hollywood production communities of film and television, but on the economies of Los Angeles and California.

During that time, mostly everyone was in the grip of fear, not able to work, not able to generate income or move their projects forward. No one was buying, the studios and networks simply shut down all production.

I saw an opportunity to shift gears and produce a low-budget ‘indie’ film. At the time, I had my own literary management company representing writers and directors. So I called one of my writer clients and asked him if he wanted to direct his first film. We dusted off an older low-budget script of his, I went out and raised enough to cover a very modest budget (approximately $200k) and I became the film’s producer.

We prepped, cast, crewed, shot and post-produced that film in exactly four weeks. We had an internal deadline, because that client, J.F. Lawton – a complete unknown at the time – and I were accepted to Sundance’s ‘production lab’ with a script then-titled “3000”. That script later got produced and released as “Pretty Woman”.

So the moral of the story is simple. Take action, do your passion, believe in yourself and what’s possible. That little ‘indie’ – “Cannibal Women in the Avocado Jungle of Death” jump-started my producing career and I’ve never looked back. Today, with all the technology and options available to us, anyone can make a short or feature film if they’re truly committed.

What do you believe is the most important asset to have in order to be successful?

Relationships. Period.

Yes, persistence and pig-headedness are critical. Taking consistent persistent daily action is imperative. And all that must in large measure be focused on the goal of creating rapport and relationship with your “Top 100” list… the people you want to thank some day when you’re standing on stage, accepting an award, and acknowledging all those without whom you wouldn’t be standing there.

Who are the people – across all the landscape of film or tv – you need to strategically target and get into relationship with, to set you apart and set you up for an enduring success ? To create a career, and not be at the whim and mercy of circumstance and prayer ?

Agents, managers, producers, script consultants, executives, directors, attorneys – all form and manner of life forms in the eco-system of Hollywood – that will increasingly make up your network and your team.

I’ve a simple theory that 100 significant relationships across these diverse populations are all one needs to create a meaningful career and business. Set aside 30 minutes every day – and this is gospel – for your research, goal-setting (not destinations, but action steps), your step-by-step marketing plan, for reaching out to people via email and phone.

Who are they ? How do you approach them ? How do you build in a specific yet easily achievable ‘call to action’ and ‘followup’ into every initial conversation ? These and other precise, very ‘do-able’ strategies are the exact things that separate out those who are committed to success, and who ultimately succeed.

These, along with a myriad of concrete strategies – the very ones I’ve used to build careers for my former clients, as well as to build my own career, are the stuff of my courses, mastermind group, teleseminar – all the mentoring I do.

Why ? Because I believe those with talent need to un-learn old mindsets and behaviors – the ones we’ve all been ‘taught’ – and get on the path to their success. Stop believing it’s just about your script or project, or that it’s simply a matter of getting an agent. It’s about you, and the relationships you can create – initiating a minimum of one per week. You’re the ‘value add’, the reason people will hire you, option you, finance you, produce you. Know how to do this effectively and it becomes a natural, comfortable habit. In as little as 6 to 12 months, you’ll have created a real, exciting, viable foundation for a far bigger future and career.

What does it take to get your foot in the door as a screenwriter?

A stubborn streak, intelligent marketing habits, an action plan that is clear, specific and measurable. I’ll mention one very specific item in a long list of strategies and that’s to befriend the gatekeepers – the ‘assistants’ in film and television, at studios and agencies, at management and production companies.

When you understand their mindset, how to effectively communicate with them, what not to do or say, what specific types of advice, tasks, favors, actions you can ask at the outset (enabling you to nurture your rapport and grow a ‘relationship’), you’ll have mastered a key strategy that will massively reduce frustration and cut years off your ‘success curve’.

The assistants are a culture unto themselves, and knowing how to work that system will pay dividends far beyond the individual on the other end of your phone line.

How did you build your network of contacts?

Relentless networking to zero in on those worthy of the time and effort needed to build meaningful relationships. Wherever I went – film festivals, the local coffee shop, the gym – I would engage people in conversation. It’s amazing what you discover – the unexpected relationships others enjoy, and their natural willingness to help – if you approach people openly and authentically.

Another key is, at all costs, to avoid asking a favor. Instead, seek advice.

There’s no quicker way to learn, to honor another, to make people actively want to help you than to respect their knowledge and experience, subconsciously or consciously placing them in the role of mentor.

And yes, mentors are a non-negotiable mandate. Get thee a mentor. Better yet, identify various mentors with different expertise. When I recognized the void, my lack of mentors, I course-corrected and it’s made all the difference. I have enjoyed and will for the rest of my life have mentors.

Similarly, join or create masterminds. Surround yourself with committed, smart people – hopefully those who’ve ‘been through it’ and are more successful – and make them a part of your inner circle, your feedback loop, your trusted advisors.

Today, social media has opened the door wide. So much can be done faster, smarter, more effectively (beginning) online. Take advantage, put your message and goals out for others to see, join groups, get known.

What kind of projects are you working on at the moment?

I’m in the midst of several projects, all in various states of readiness.

I’m just completing a capital raise for an ‘indie’ that we’ll shoot on high-definition for a mid-six figure budget. We’ve an innovative distribution model and I’m as excited about this little film as any I’ve been involved with in the past. The opportunity for quality storytelling has never been greater, but the need to be brilliant – to stand out from the crowd – has likewise never been more essential.

Technology is shifting, opening up significant opportunities. How we finance, produce and distribute films is also changing rapidly. Likewise, more talent is available to work on smart, independent projects than ever before.

This particular film – which I’ll produce with an extraordinary partner – is a story set in the midst of one of the most powerfully positive youth movements to come along in modern time… and has exquisite music and dance elements to boot. Beyond that, you’ll have to wait and see ! Mum’s the word.

To find out more about Gary : http://garywgoldstein.com

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©Laura Crosta

LOS ANGELES – Annmarie, a talented Irish singer with a powerful, melodic voice has crafted a successful music career in the US. From working as a solo artist to forming the band ‘Saucy Monky’ with close friend Cynthia Catania, Annmarie has had a unique journey.

After getting her degree in Ireland she quickly headed over to the US to ‘”give it all up for rock and roll”. Film Industry Network delves into the life of an independent artist.

In conversation with Annmarie

How did you establish yourself as an independent artist?

I established myself as an independent artist out of necessity at first, and then I grew to love being one. Initially I had a songwriting deal with Disney (for the show So Weird) and after that, Warner Chappell signed me to a songwriting/publishing deal. I was also pursuing a record deal with a major label at that time, and I came very close to attaining one. Then, to make a long story short, Warner Chappell was bought out and I lost my publishing deal. To my surprise, I loved being independent and being completely in charge of the decisions made. Indie artists can make a good living selling a fraction of the CDs needed to make a major label release a success. Being indie, you receive the lion’s share of the money directly.

What made you decide to form a band rather than going solo?

I was a solo artist at first actually (under the name Annmarie Montade). After I lost my deal with Warner Chappell, I felt I needed a change. I met my band-mate, Cynthia Catania, by chance, and we started having “jam sessions” with other musicians in a tiny local pub called O’Brien’s. We discovered that we had a great writing and performing chemistry, so we decided to form our band, Saucy Monky. Being in a band is a lot more fun and less lonely. You’re part of a team, so it’s nice to share the workload.

Where do you get your inspiration from and has anyone influenced your style?

Stevie Nicks once said “I write my best songs when I’m miserable”. I think that’s true. I get inspired to write songs out of sorrow or desire. I don’t usually feel like writing when I’m happy (ha!). I’m not sure who has influenced my style, but I really admire the music and independent work ethic of Ani DiFranco. She was releasing records on her own indie label way before it was even cool to do so.

Is there a specific message that you want to send out through your music?

I like when people tell me that they really relate to the lyrics in a particular song or when they feel that a song of ours is telling THEIR story. That’s cool, because it makes our music universal and not just for me/us.

Do you have any other side projects apart form your music that we should know about?

Annmarie

Well, it’s still music related, but Cynthia and I have been working with some independent filmmakers. This year, we placed several Saucy Monky songs in the indie films AND THEN CAME LOLA and AMEXICA. Nickelodeon has also used our songs for many of their shows. It’s thrilling when you hear your songs on screen. We are also doing some composing work for other indie
TV/film projects that are still in production. Outside of Saucy Monky, I am slowly and quietly working on a solo album. Hopefully, I will have it ready for release in late 2010.

Saucy Monky have played at festivals with The Black Eyed Peas, Wilco, The B-52s, Pink, PJ Harvey and many more from around the world. To find out more about Annmarie visit:
www.myspace.com/saucymonky
www.myspace.com/annmariecullen

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LOS ANGELES – Not many people have achieved what Susan Pascal has in the last 18 years; from studying at NYU to becoming unit publicist for Hollywood’s biggest films. Susan has worked with the world’s most renowned talent such as Harrison Ford, Brad Pitt, Johnny Depp, Tim Burton, David Fincher and many more and her expertise is one of a kind.

Susan has learned a great deal from her experiences, and now runs her own PR company for individuals and businesses:  The Athena Fortune Company. She also hosts her own radio show with weekly interviews.

How did she do it? What does it take to become successful at what you do? Today, Film Industry Network covers the intricacies of the PR route, and how one can create a mindset to achieve their goals.

Iain Alexander in conversation with Susan Pascal:

After graduating with a BFA from New York University, how did you go about looking for work and was there a particular passion or skill that you had developed over the course of your studies that you wanted to focus on?

I entered NYU with the initial desire to study filmmaking and to become a director.  However, while in school, I got a job as a Page for the ABC Network.  It was a paying job, which enabled me to meet all sorts of fascinating and influential people.  It also helped me figure out what I wanted to pursue upon graduation. I ended up getting an internship with the local news division, WABC-TV, and fell in love with news and reporting.  I worked directly with the Special Investigative Consumer reporter as his researcher.  While there, I also made demo tapes. I was also the news director for WNYU radio, which was an amazing experience.

Upon graduation, I was lucky enough to get a job with the newly formed television network, News 12 Long Island, as the weekend anchor, weekday reporter.  In addition, I freelanced as a writer for various New York area newspapers and publications.

Eventually, I realized that I wanted to become involved with the film industry, as I originally desired back in college.  With my writing and journalistic experience, I decided that the best way to follow this path was to go into movie p.r.  I followed a lead and interviewed for a job at New Line Cinema in New York.  Though the job had already been filled, I was offered a project to write the press kit for “Teenage Mutant Ninja Turtles,” which turned out to be #1 at the box office for weeks.  Though I knew nothing about press kits at the time, I told them, “I’ll do it.”  They said, “Great, can you start tomorrow?”  It turned out to be a fabulous experience which lead to my first Unit job on “Hangin’ With the Homeboys,” another New Line project shot in New York.

After that, things were slow.  Not much happens in film production out of New York, so I sent my resume out to all of the studios in Los Angeles.  Not long after, I received a call from 20^th Century Fox asking if I’d like to meet with a director who will be in town scouting for cast and crew.  I jumped at the chance.  I was soon hired to be the unit publicist for “Love Potion #9,” starring Sandra Bullock.  That film lead to “My Cousin Vinny,” after which I decided to move out to L.A.

What would you say were the important decisions you made in order to get to the next level in your career?

I’ve been very fortunate to have had a string of career breaks, in which one thing literally lead to the next. But what I also discovered on my journey was that I never doubted that I would be successful.  That’s not to sound boastful but to encourage others that if you have a passion for something, no matter what the profession, feel the love and passion you have for it.  Then GO for it!  Don’t let anyone tell you, you can’t do it or won’t make it.  I read a Facebook posting recently that I reposted, ‘cause it is so true. Supposedly, Confucius said it. I’m paraphrasing, but it went something like this… “If you’re in a career or profession for which you feel passion, you will never work a day in your life ever again.”

The other smart decision I made was to move out to Los Angeles.  I have made so many wonderful connections and met so many terrific people here.  I worked successfully as a publicist for more than 10 years.

Who is the most exciting person you have ever had to work with?

Oh gosh, lots of terrific people. I love Harrison Ford. He’s a consummate professional. He came to work on time and was always prepared.  Everybody loved working with him, because he never made anyone feel that they were beneath him.  He was “just another member of the crew.” Being the set publicist isn’t always the most appreciated job on the set. The actors, etc, are there to make a film, and many don’t want to take the time to publicize. With Harrison, it was never an effort.  As long as you explained the who, what, why and where, he would always make time to accommodate the press. He understands the importance of publicity.

Looking at the other things your involved with, particularly your Blog radio show, how did this come about?

I took some time off from work beginning in 2000 to have a family. I have 2 wonderful children. My husband works for Sony, where he’s an art director. Fast forward to 2008, and both of my kids are in school.  I began to miss the creativity and excitement of working in my field, plus I wanted to contribute financially towards our future.

Because I had been absent from the scene for so long, I needed first to reintroduce my work and abilities.  In a sense, I had to re-brand myself. I created my company, The Athena Fortune Company, to serve the entertainment and lifestyle industries as well as specific personalities. I also began writing a column for the online news site, Examiner.com.  I enjoyed the writing and interviewing so much that I went on to create a show for BlogTalkRadio – The Athena Fortune Show. You see, they are all intertwined, yet each provides a unique service to readers and followers, depending upon what they require.

If you have any advice for young graduates looking to pursue a career in public relations, what would be a good place to start?

I highly recommend internships.  Get them while in school if you can.  Not only do you receive college credits, but you also receive invaluable information and advice that you will take with you into your chosen profession.  While in this position, be sure to ask LOTS of questions of your mentors and learn from them. Internships can also lead to full-time work! The downside is that many are unpaid, but think of it as a stepping stone.  Also, look for jobs like “assistant” or “junior” positions that may start out with low pay but could lead to bigger and better things.

Most importantly, don’t ever doubt yourself!

Websites:

www.athenafortune.com

www.examiner.com/x-2906-LA-Successful-Women-Entrepreneurs-Examiner

www.blogtalkradio.com/Susan-Pascal

© Film Industry Network 2009 All rights reserved worldwide

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