Cyndi Greening / Cynematik

I love the Knoll brothers. No, they're not a musical group, like the Neville Brothers. They're the whizzes behind Adobe Photoshop and Knoll Light Factory. They've done amazing things in the world of digital visuals. Brother Thomas created the digital editing program that has become a verb in the common lexicon. People (even Ross and Chandler on FRIENDS) talk about how they "photoshopped the image." Brother John is an award-winning visual effects guy who also did a program that adds light effects to still photos and motion footage. I enjoy going to the Luxology site to look at the Image Gallery. Luxology created modo (now on version 3.01), an extraordinary modeling, texturing and rendering tool. On the site, there's actually an image John Knoll modeled for the film APOLLO 11. There's even a rave endorsement. That's not too shabby. If only there were an animation component in it ... until they can get that integrated, I'm hanging with Maya ... although I'm sure they're feeling the pressure of the modo competition.

Posted by Cyndi Greening at 08:17 PM | Permalink

I had a great day! Sometimes, life is just fun. Today was one of those days. (It wasn't as good as Marion Cotillard's day but more on that later.) So, I got up at the crack of dawn to grab what I needed for a quick trip to LA (heaven forbid that I would pull it together the day before). I was at the airport by 8:15 for my 9:30 flight (not bad for me). Heavy rains in LA gave us a 30-minute runway delay but I just caught up on some reading so I didn't really mind.

At the car rental joint, they actually let us choose the car we wanted (when did this start, the opportunity to choose any car on the lot in the price range?) ... I chose a lovely navy blue Sentra and buzzed my way up the 405 to Westwood. The parking fellow was so kind. I forgot to get cash before I left Phoenix and he let me park without having to pay ahead. I guess I have an honest face. As I walked to the ATM, I was enjoying the fresh breeze and high-energy that seemed to be reverberating effortlessly. I recalled that physics lecture about how energy cannot be created or destroyed. It seemed to be emanating from every nook and cranny of the City of Angels.

Then, my meeting with Zimbabwean-born filmmaker Eunice / Tafadzwa. There's something so rewarding about sitting around discussing film with someone who understands the love of making films that make a difference. To talk about the greater idea of film as an art form, as a medium that can change minds, as a catalyst that can change the world. I shared the details of the Zambian film projects. We discussed all of the other African-made or African-themed films that we loved. THE LAST KING OF SCOTLAND, HOTEL RWANDA, THE CONSTANT GARDENER, CATCH A FIRE and BLOOD DIAMOND were all discussed in the feature arena. The DARFUR film, THE DEVIL CAME ON HORSEBACK, LOST BOYS OF SUDAN and WAR/DANCE popped into the documentary discussion. We talked about the possibility of future projects and went over the script structure for one of the projects.

Ultimately, I almost didn't make it back for my return flight. Fortunately for me (the rest of the folks at the airport weren't so happy), the flight was delayed 45 minutes because of weather. So, I made my flight and made it home in good time! It was faboo. Now, I'm watching the Academy Awards. I was sooooo happy to see Marion Cotillard win for her portrayal of singer Edith Piaf in LA VIE EN ROSE! She was so dang happy. Just prior to the announcement, I was thinking about how much I thought she deserved the award but thought she'd never get it because it was a relatively small picture. It was so cute. She said, "It's true. There really are some angels in this town." Sweet, sweet, sweet.

Posted by Cyndi Greening at 08:21 PM | Permalink

There's a chance I'll be going to Singapore at the end of April to shoot video for a fellow putting together a non-fiction DVD. It would be my first opportunity to shoot in Asia. Last year, there was a potential China documentary that fell through so I won't be counting my chickens until they hatch. I've been doing quite a big of research on Singapore. Not a very large country, it used to be part of Malaysia. Originally it was a valuable trading port that was part of the British empire. Later, it became part of Malaysia and then, in 1965, separated. Listed as a democratic republic, it has been ruled by a single party since independence. It could be fun and interesting. I read that three bloggers were fined for SEDITION (that is writing or saying things that upset people, they can be true things ... the point isn't whether or not they're true but whether or not they're upsetting). I understand they still CANE people in Singapore, too. So, I'm going to have to be on my best behavior ... IF the project comes through.

On Sunday, I'll be meeting with the director of the Zimbabwe projects. I am really excited about those two films but am unsure how it's all going to work out. There's been a growing interest by production companies and distributors about this project. We're going to sit down and talk about the script, strategies and schedules. The Zambia projects started in January of 2006 and we shot in August 2006. So, to be at the end of February and still hoping for a summer shoot is scary to me. Especially given the current political situation in Zimbabwe and we don't have in country contacts like we did in Zambia. (If you follow this blog, you know that we still had numerous challenges and collapses with logistics ... and that was WITH in-country support ... so, unless some significant support comes in, it looks like summer 2009 to me.)

I do, of course, wonder if this is part of my lunar eclipse on my ascendent. It's all about surprising and unexpected occurrences. The last few years have brought nothing but surprising occurrences to my life. In fact, surprising occurrences are becoming the norm. So, the eclipse has a lot to do to make a memorable impact in my current existence.

Posted by Cyndi Greening at 04:39 PM | Permalink

Looking for money to make your film? What a foolish question. Who isn't? Who couldn't use more funding? Here are some of the best sites I can find on the web that list grants and funding opportunities.

• University of Michigan: One of the best, most thorough listings out there.
• Sundance Documentary Fund: Year round application.
• ITVS Funding: Excellent indie source.
• National Geographic: Indigenous Filmmaker Grants
• MacArthur Foundation: Prestige grants.
• Film Festival Today: Mainstream List with links.
• Caryn.Com: Blog site with tips on grant writing.
• FilmMaker Magazine: Some items out of date.

Posted by Cyndi Greening at 03:12 AM | Permalink

In 2005, Gavin Hood's dramatic narrative feature TSOTSI won the Academy Award for Best Foreign Language Film. I've written about this fantastic film in the past. I positively adored that film. First and foremost, it was a GREAT story. Teenage thug carjacks a luxury vehicle and discovers that he has inadvertently kidnapped an infant. Ultimately, the thug becomes a young man as he takes responsibility for the child and his actions. So, obviously, the story is powerful.

Director Gavin Hood augmented the story with equally powerful elements. Of course, the acting is terrific. The visual aesthetic is stunning. The cinematography, art design, production design, costuming and make-up were woven into a symphony of compelling beauty. And, one of the most amazing and powerful elements of all is the music, the score. I absolutely love the music. A bit of research revealed that the composers were Mark Kilian and Paul Hepker.

Mark Kilian was born and raised in Johannesburg, South Africa. Kilian's biography says he helped launch the jazz band SHADES which helped break the color barrier in his native South Africa. He played with Shirley Bassey and Ladysmith Black Mambazo among others. While pursuing his advanced degree in composing, he taught disadvantaged kids. WITHOUT THE KING, a documentary about the absolute monarchy in Swaziland, was a passion project for Kilian.

Paul (PawLee) Hepker was born in Zimbabwe but raised in South Africa. He toured and recorded with Johnny Clegg and Savuka (I have two of their CDs), Miriam Makeba (I have two of her CDs, too) Vusi Mahlasela, and Shirley Bassey. In 1997, Hepker was given a "green card" for being an "alien of extraordinary ability." INTO THE LIGHT, a documentary about the AIDs crisis in Tanzania, was a recent passion project for Hepker.

In the more commercial realm, Kilian and Hepker also did the music for RENDITION (starring Jake Gyllenhaal and Reese Witherspoon), in addition to TSOTSI. They also worked together on THE BIRD CAN'T FLY (something about ostriches) and a film I saw at Sundance many years ago, CLOCKWATCHERS.

We're almost ready for PICTURE LOCK on the feature. At that point, it's simply a matter of doing the sound mix, the score and the color grading. Pamela Jo's been putting in temp music before we screen it for folks (so they get the feeling we're going for). We've been using a lot of the TSOTSI score as a placeholder and it makes such a difference. It gives the film a lot more depth and resonance. So, today, we contacted Mark Kilian's manager about the possibility of having them do the score for the Zambia films. Of course their fees are quite high but ... we'll see ....

Posted by Cyndi Greening at 07:41 PM | Permalink

During the Sundance Film Festival, we got word that Withoutabox reached an agreement to be acquired by the Internet Movie Database (IMDb), an Amazon.com subsidiary.

According to their press release, "This presents a great opportunity for all our independent filmmakers, festivals, and industry professionals. The new arrangement preserves the vision that Withoutabox has championed for eight years, teaming it with the Internet's number one destination for film lovers and film insiders.

As Filmmakers and self-distributors, you can look forward to more ways to reach your audiences and monetize your work. As Festivals, you can look forward to powerful tools to scout, collect, select, and schedule films, plus access to a vast audience of movie lovers that only IMDb can deliver - more than 50 million visitors a month. As Film Sellers, Sales Agents, and Acquirers, you can look forward to unprecedented information, discovery, and connectivity at your fingertips, across the entire landscape of commercial and independent film."

So, what's the plus for the Without a Box user? The owner/developer of Without A Box surely benefits from the divestiture but what about all of the users. It will be interesting to see if it aids independent participation and distribution. That is the key need of Without a Box users. Heaven knows it deepens the vertical market for IMDb and it brings about 50 million users a month to the WAB game. Of course, only time will tell. It seems promising to me.

Posted by Cyndi Greening at 12:21 AM | Permalink

Some fun emails recently. Former MCC Animation student, Jordan Pack is up at BYU finishing his program. A terrific and talented guy, Jordan updated me on his exciting adventures with Pixar and Disney.

Jordan says, "Animation life is also good. I work part time at Avalanche, Disney's game studio in SLC, as a work builder (modeling, texturing, and game play set-up). I'm finishing producing a short animation mentored by Pixar. Two of my classmates/friends just got accepted as interns. So I am hopeful that there is an opportunity there for me, too." Jordan has a second website with artwork and commentary. I'm expecting great things from Jordan.

Talk about a blast from the past! I grew up in Chippewa Falls, Wisconsin. Much of my family and some of my dear friends still live in that small town. Two young fellows from Chippewa decided to get into the film industry. Jason Behnke came to Arizona to attend Scottsdale Community College's film program and ultimately went to LA where he now works as an editor. One of his good friends, Noah Arntson went to school in Florida and now lives in LA and does 3D work. Noah has also worked on live action films like the Jim Carey film, BRUCE ALMIGHTY. It was fun to get an email from him with a link to his portfolio.

Posted by Cyndi Greening at 11:49 PM | Permalink

New age thinking (like the thinking that gave rise to THE SECRET) suggests that one needs to visualize what one wants and "be the change one wants" to have it manifest itself. Other new age thinkers suggest that one must look at one's life and see what is "opening up" to ascertain where the energy is and what one should be doing. Of course, I like this theory because of the signs and portents portion of my personality. Theoretically, one simply needs to look at what is expanding in one's life.

So, what's been happening for me in 2008?

Last week, I got an email from a woman in Canada wanting advice on filmmaking in Zambia. Apparently she's working on a documentary about AIDS, art and children. She had originally planned on shooting in Kenya but the political situation killed that location. Her secondary choices were Lesotho or Zambia. We, of course, are partial to Zambia because it is familiar and safe. I advised her about Carnets, Visas, the Zambian National Arts Council and gave her the names of Zambian advisors.

The week before, a graduate film student at one of the major California films schools called to discuss her plans on a documentary and feature she was working on about Zimbabwe. She was planning on shooting in South Africa. The political situation in Zimbabwe makes it impossible to shoot there. My inclination would be to shoot in Zambia over South Africa because, in our experience, Zambia was so much safer. That was over a year and one-half ago so things may have changed but that was initial thought. And, maybe, it's just that I favor Zambia and would like them to get the film business. Besides, it's just across the border from Zimbabwe.

So, I've spent the last few weeks becoming an expert on Lesotho, Zimbabwe and Kenya. I've been reading about the Chinese investment in African nations. A recent NYTimes article on the slipping hegemony of the U.S. brings the African situation in to sharper focus. And there's more.

I've had an invitation to go to Sacramento to share our filmmaking experiences with the Figg Rig and other DIY equipment. By the way, I found the most incredible site to purchase camera rig plans and another site with 17 DIY camera rig tutorials that can be purchased together or separately.

Then, a call from a former colleague who now teaches at Purdue University in the technology school. Animation, robotics and digital video. So, Africa, digital filmmaking and animation continue to beckon. At this new age in my career, new age signs suggest I am pointed in the right direction.

Posted by Cyndi Greening at 06:03 PM | Permalink

Yesterday, I wrote about signs and portents and why I like birthdays. I mentioned that I liked birthdays because of astrology and the illusion of certainty. The other reason I like birthdays is the opportunity to reflect on what has occurred and what I hope will occur. My birthday is in December. The echo of Pamela Jo's birthday this week has me looking at the joint project we've been working on the last two years. The Zambian films. It has been a long and wild ride.

On both of our birthdays, I found myself reflecting on the value of our lives and our contributions. We're a bit different but Pamela Jo and I are very similar in that we have both wanted to make films for decades. That's right, decades. I spent 17 years teaching. She spent 17 years raising a family in northern Mexico. Both waiting, waiting, waiting to do the thing we love, the thing we want to do, the creative work we hoped to have. Upon this year's birthday reflection, I had a most reassuring realization. I realized that — if either of us died tomorrow — we would both know that we have been able to accomplish a significant life dream. We made a film. In fact, we made two films. Do you have any idea how many people say they want to do that? It must be in the millions. We did it. And we did it in Africa, for heaven's sake, we did it in Africa.

As we work on the edit of BAD TIMING and VOICE OF AN AFRICAN NATION, I am so pleased at how well it's coming together. Now that we're no longer focusing on hearings and evidence and lawyers, all of our creative energy is going into the films and it is good. We grew up in a generation where one is always trying to do good, trying to do the "right" thing, trying to make a difference in the world. Touch the world in a positive way. We had made the decision that, no matter what, we were going to make sure both films got done and distributed so that the Zambian actors could share their work with the world and the Crew could share their experience through the doc. By the end of February, we will have both films ready for the audio mix and distribution. Of course, we'll begin with the festival circuit. I do think audiences will want to see Zambia's first effort.

I think this is a good thing that we have done and are doing. The film of a Zambian story, directed by a Zambian, starring Zambians. A film done by a committed crew of fourteen. As I reflect on the path of our lives, the influence of the heavens on our paths, I am satisfied with what is happening.

And, when the films are done, I get to do the thing I want to do most of all, write the script we've been sitting on since October 20 (I know the date because I was in New York for Alec's birthday). It's an amazing story that I want to get in front of other creative women. I think of Kathy Bates as a director. Pamela Jo thinks of Meryl Streep for Anne. I think of Jennifer Connelly for Mary. I'm planning a research trip for early March with three solid weeks of writing. I can hardly wait.

Next year, on my birthday, I want to be reflecting on the completion of the story of Anne and Mary and knowing the difference this story made in the world. It is an amazing and powerful story that will make a difference. At least we sure think so.

Posted by Cyndi Greening at 05:31 PM | Permalink

Thus far, 2008 has been a remarkable year. On Thursday evening, I watched LOST. I loved the preceding "re-cap hour" where they bring everyone up to speed on the LOST mythology. In the re-cap, the narrator says the survivors of Oceanic 815 had the rare opportunity to restart their lives anew. I loved that line. As I make my way in my brand, new transformed life, I relate to this opportunity to discover life again. Choose anew. As I age, I believe more and more that we humans are odd creatures. We do everything we can to make life feel safe and predictable but life is an adventure that has an uncanny knack for doing its own thing when we least expect it.

I don't know what other people do but I look for signs and portents. That's right. I look for meaning in the chaos. I look for a guiding hand of divinity.

As I mentioned, Pamela Jo turned 50 last week. I love birthdays for a number of reasons. An odd reason is that I enjoy astrology. It's an amusing pastime, doing a number of complex calculations to ascertain where the planets were located at one's birth and finding where they are now. Gauging the planetary relationships and relative influence they have upon on another, that's where the signs and portents can be found. Every year, I have a solar return chart done to see what the following year is supposed to bring. Friends have always said "you're such an intelligent, savvy human being, why do you get your chart done?" The illusion of certainty, I say, the illusion of certainty.

So, according to my astrologers (yes, I have more than one), the next two years will be quite significant with a big payoff coming due in two years. (Won't that be fun? I'm looking forward to it already.) Supposedly, I am learning difficult new things that have been missing from my repertoire of skills. Financing and distribution is what I'm learning, now. The Zambian feature and doc are being finalized and the reviewers have been very positive. So, it is time to complete the process now.

Right now, an important portent and sign I'm seeking is the dollar sign affirming I'm heading in the right direction.

Posted by Cyndi Greening at 04:38 PM | Permalink

I spoke with a friend today about the current state of the film industry. In the fall, he called to say he had a film deal set up and it looked like he would directing his first feature in the spring. It was very exciting to hear. Then, the writer's strike hit and everything ground to a halt.

I certainly had personal knowledge that the writer's strike was slowing things down. We got our script out to an agent and manager but heard everything was very slow, slow, slow and no one was reading. So, we just redoubled our efforts on the films and started another script. Our plan, keep working until things open back up.

Then, today, we heard that about a thousand people might be laid off at Warner Brothers. This was followed by the rumor that Walden Media might shut down. On top of that, yesterday there was the news that the U.S. economy was on a downturn and it looks like we're heading into a recession.

It will be interesting to see what sort of impact this has on the upcoming Sundance Film Festival. Will the purchase prices be lower? Distribution deals more available because product is limited by the strike? Or deals less available because of caution at the studios? The same sort of questions we ask ourselves because the writer's strike is on ... will they be more open to new scripts because there is a dearth of product OR are all of the writers sitting home writing the material they've always wanted to write and the market will be deluged when the strike lifts?

If it weren't for bad timing, I'd have no timing at all.

Posted by Cyndi Greening at 08:56 PM | Permalink

I got a GREAT new book on Game Design using Maya. Discover the Game with Alias: An In-Depth Look at Game Art Creation in Maya and Alias MotionBuilder starts with realistic, pragmatic character design (using polygon geometry), texture mapping and environment creation. Throughout the entire book, there is an emphasis on polygon management, pixel depth and rendering considerations for efficient game operation. It made the whole game design process accessible.

In addition to working on Maya for animation and game design, I've been working with game design in Flash. To be accurate, I've been tutoring a young fellow who loves gaming and wants to know everything about how to create them. So, all of my attention of late is on that topic. Most recently, I helped him create a lip sync version of himself (using Adobe Photoshop and Adobe Flash) for a short film he was creating. It was autobiographical in nature so his film began with a the story of his first twelve days of live in the Neonatal Intensive Care Unit. Jeanette had always liked Flash animation and, now, after this project, I'm liking it too.

(Click on the image to see the animation created by my tutoree, Alec No. 2 ... quite impressive for a 13-year-old.)

Posted by Cyndi Greening at 12:46 AM | Permalink

BY CYNDI GREENING, PHOENIX, USA — Beginning filmmakers are always asking for advice on how to distribute their films, how to get in touch with the right people, how to find creatives to attach to their projects. Over the years, there are certain tools that I have found to be invaluable. Since it's a digital world, I thought it would be useful share some of the most useful tools I've encountered.

Some of my favorite tools are:

• IMDb PRO – One of the best deals on the web, IMDb Pro offers extremely detailed information about films and filmmakers including their contact information (managers, agents and production company). It also has information on films in all stages of production AND a list of script and pitch purchases. I am on IMDb constantly. Very reasonably priced.


• Hollywood Creative Director Online – The other end of the spectrum is HCD_Online. Compiled by The Hollywood Reporter, this dynamic database has the names and numbers of any and all persons in the film industry. HCD also produces printed books for folks who prefer a tangible, rather than digital, directory. The Distributors Director is particularly useful for finding, duh, Distributors. I used to buy the directories but decided to try the online database for a year. I'm liking it better. More current, easier to find what I want. A bit pricey.


• WITHOUT A BOX – If you're looking for a film festival, Without A Box is the best tool and it's free, free, free. You can search festivals by subject matter, entry date, length, media and about fifteen other parameters.


• Box Office Mojo – For information on production budgets, distribution history and box office receipts, Box Office Mojo is terrific. It's a great way to figure out if your film (once produced and fully-realized) has a good chance of recouping your investment.

My recommendation for today.

Posted by Cyndi Greening at 09:49 PM | Permalink

First released on October 2, 1987, Kathryn Bigelow's NEAR DARK is a cowboy-vampire film that, thematically, is an allegory on the dangers of recreational drug use and casual sex. With a budget of $5 million, NEAR DARK total box office is listed around $3.4 million. One would think that would make the film a failure. It wasn't and, in fact, it is currently being in development to be remade with Samuel Bayer directing and distribution by Focus Features.

Ironically, NEAR DARK was, in my opinion, a huge success. Among other things, it developed a rabid cult following making the DVD and other ancillary sales quite robust. The film is still considered by many to be Kathryn Bigelow's best film to date. (Bigelow also directed BLUE STEEL, a fabulous Jamie Lee Curtis film, POINT BREAK, the surfer-dude, bank heist flick, and K:19 THE WIDOWMAKER, a film I never quite got up the energy to go to.) Finally, the film brought together three actors who also starred together in James Cameron's ALIENS. Bill Paxton, Lance Henriksen and and Jenette Goldstein as the bad, vampire momma, Diamondback. Bigelow would go on to date Cameron, he would produce POINT BREAK.

No cast is yet announced. It will be interesting to see if the remake has the raw energy of the original. When the film first came out, I read every interview I could find about Bigelow and the film. I recall reading that she shot on 35mm film. One article stated that she was so clear on what she envisioned for each scene of the film that she did NOT use the Master Scene technique of filmmaking. According to the article, Bigelow thought it a waste of precious film that she wanted for the more dramatic visual moments. After reading that, I was not surprised to find out that Bigelow trained at the San Francisco Art Institute and won an independent study scholarship at the Whitney Museum. She studied filmmaking, theory and criticism at Columbia.

According to IMDB, Bigelow is currently in post-production on THE HURT LOCKER, a film about a bomb squad in Iraq. It stars Ralph Fiennes and Guy Pearce. Produced by FIRST LIGHT PICTURES.

Posted by Cyndi Greening at 05:11 PM | Permalink

Paramount Vantage has put up screening sites for several of their films. From a design perspective, the sites are beautiful. They're attractive, easy to navigate and meaty. Images, video, production notes. Lots of good information. Lots of material for bloggers and film enthusiasts. The thing that is MOST exciting to me is that each site includes a link to the final script. Read the scripts! Study the sites! Thank Paramount Vantage for the fantastic learning opportunity.

	A MIGHTY HEART Site       Script Brad Pitt's production company, Plan B Entertainment, brings the story of the death of Wall Street Journal reporter Daniel Pearl to the screen with Angelina Jolie appearing in the role of Marianne Pearl. Directed by Michael Winterbottom, A MIGHTY HEART was filmed in Pakistan, India and France during the summer and fall of 2006.
	INTO THE WILD Site       Script Based on the Jon Krakauer's bestselling book, INTO THE WILD was written and directed by Sean Penn (one of my favorites filmmakers and actors). It stars the always intereresting, perpetually underappreciated Emile Hirsch. Based on the trek taken by 22-year-old Christopher McCandless as a sort of modern-day Thoreau. Krakauer's writing is powerful and inspiring. His piece on surfer Mark Foo in OUTSIDE was wonderful. And his Everest book, Into Thin Air was an amazing read. The thing that I like best about Krakauer's writing is that he doesn't "wimp out" in the end. His work always finishes as strong and descriptive as it began. Hope the movie does as well.
	THE KITE RUNNER Site       Script David Benioff pens the script from Khaled Hosseini‘s brilliant novel by the same name and Marc Forster (MONSTER'S BALL) directs this powerful story of redemption and the chance to earn forgiveness. In a divided country on the verge of war, two childhood friends, Amir and Hassan, are about to be torn apart forever. It’s a glorious afternoon in Kabul and the skies are bursting with the exhilarating joy of a kite-fighting tournament. But in the aftermath of the day’s victory, one boy’s fearful act of betrayal will mark their lives forever.
	MARGOT AT THE WEDDING Site       Script Written and directed by Noah Baumbach, MARGOT AT THE WEDDING stars Nicole Kidman, Jack Black and Mrs. Baumbach (Jennifer Jason Leigh) in a characteristically family-dynamic driven tale in the most intimate of human minefields. Like Baumbach's Academy-Award winning THE SQUID AND THE WHALE (one of Alec's favorite films of all time), this film is about an excruciating sibling relationship. I can hardly wait.
	THERE WILL BE BLOOD Site       Script I knew the least about this film when I started writing about these scripts and it looks like it will be incredibly interesting. First, it stars Paul Dano (who most folks remember as Dwayne in LITTLE MISS SUNSHINE but I first became a real fan of at Sundance when he appeared in L.I.E. -- Long Island Expressway. Brian Cox was extraordinary in that film, as well.) Back to TWBB, it was written and directed by Paul Thomas Anderson (MAGNOLIA, BOOGIE NIGHTS). Paul Dano plays a charismatic preacher (from not talking in LMS to bible-thumper in TWBB) in a town that suffers the corruption and deception that follows an enormous oil-strike.

Posted by Cyndi Greening at 02:05 PM | Permalink

We came within two scenes of finishing our latest screenplay this week, so we've given ourselves permission to go out and play. There's a neighborhood Halloween party, so at least one of us will be dancing in the streets tonight. We sent our current script, COYOTE out to a few trusted industry pals and got some tres enthusiastic responses. To be honest, we're eager to get started on the next script, an updating of sorts of THELMA AND LOUISE with a nod to the current oppressive political climate. The story is so rich and exciting, it's practically writing itself.

When it comes to powerful women in a compelling role, of course I always think of Debra Winger. She's done so many amazing films ... URBAN COWBOY, TERMS OF ENDEARMENT, AN OFFICER AND A GENTLEMAN and BLACK WIDOW. Certainly one of my favorites is LEAP OF FAITH from first-time writer Janus Cercone. At Sundance the year after it was released, I had the chance to talk with Lolita Davidovitch about the character arcs in that film. Winger's character had a nice evolution.

Why does Winger always come to mind as a lead in women's script? For starters, she served in the Israeli Army. (Holy cow!) When she was 17, she was working at Six Flags Amusement Park. A freak accident put her in a coma for three days. When she came to, she was partially paralyzed and was told she'd be blind for life. To everyone's surprise, over the next year, she healed completely. She's such an iconic figure, a documentary about the challenges faced by actresses over 40 was entitled SEARCHING FOR DEBRA WINGER. I'd love for her to play Major Pauline or one of the characters in our new script.

Posted by Cyndi Greening at 06:59 PM | Permalink

BY PAMELA JO BOWMAN – MESA, ARIZONA – There are moments in life when events happen that make you realize you are an adult. That happened this week. We feel like we have grown up and have become an official production house. It is true we have produced quite a bit of product this year. One feature film, one documentary, an art instructional DVD series, two music videos. We are in the process of writing three different screenplays and we completed some smaller productions for private clients. We also spent time researching, fighting and overcoming a wrongful termination notice.

In spite of all that, what made us feel all grown up? Some little lines and numbers. This week we received our first ISBN numbers. We can officially sell our products through Baker & Taylor, Amazon, Borders and almost anywhere else you can name in the world. Seems like a silly thing, but for us to have our own bar code is…well… pretty cool.

So now we can produce our work and the work of others. This barcode is for Gingher Leyendecker's Art Instructional DVD on Charcoal Drawing. We are official. One giant toddler and one small California girl. I hope being an adult doesn’t get boring or we are all in trouble.

Posted by Cyndi Greening at 02:09 AM | Permalink

I've been teaching Maya for the last three years. I have to admit, I do love Maya. It's an amazing and wonderful piece of software. It consists of four modules—modeling, rendering, dynamics and animation. It's a sophisticated piece of software. Recently, however, my son turned me onto Luxology's modo. And, you can try it for 30 days for free.

Modo (they always write it with a lowercase "m" but I just can't make myself do that at the beginning of a sentence) is a terrific 3D modeler with seamless, sophisticated, multi-threaded Paint and Rendering capability built-in. Modo allows you to move between polygon and SubD geometry by simply touching the TAB key. Modo's UV texture editor is soooooo much easier to use than Maya's. This is one area where Modo really stomps Maya. The modo Shader Tree is similar to the Shake Shader Tree—both are dynamic and easy to modify. And, it renders like nobody's business.

What I don't like ... no animation. So, everything has to be moved to another application. If I were doing product modeling or character modeling only, I wouldn't care BUT, since I do want to move things, it gets a bit frustrating. Thus far, moving models into Maya hasn't proven to be as easy as I'd like it to be but I haven't given up, yet. More updates as I learn more about how to better integrate these two tools.

I almost forgot to mention, Luxology offers a number of Tutorials and Training Papers.

Posted by Cyndi Greening at 12:45 AM | Permalink

First, an apology for being so lax about blogging. I'm trying to get back in the swing and generate more information about independent films, independent filmmaking, animation and visual arts. A few weeks ago, I posted a blog about Other People's Money or, even better, filmmaking grants! If you're looking for funding, you might want to start with this list!

• Grants.Gov
• University of Michigan Library List
• Film Arts Foundation List
• NYC Mayor's Office Grants List
• IFP Grants
• National Geographic Grants
• Academy of Motion Picture Arts Grants
• MacArthur Foundation
• National Endowment for the Arts
• National Endowment for the Humanities

Posted by Cyndi Greening at 06:54 PM | Permalink

BY CYNDI GREENING, ARIZONA, USA — In 1999, Cate Blanchett was nominated for an Academy Award for her portrayal of Elizabeth I in the aptly titled film, ELIZABETH. On Friday, I saw the trailer for another film with much of the same cast and crew. The trailer was gorgeous. Cate Blanchett, Clive Owen, and Geoffrey Rush fill the screen in costumes and settings that were stunningly beautiful. Elizabeth The Golden Age looks golden. I'm already anticipating Academy Award nominations for costumes, make-up, set design and, probably, performances.

I've always been interested in the whole Elizabethan period because of Shakespeare. So, I adored SHAKESPEARE IN LOVE. In the film, the amazing Judi Dench earned a supporting actress Academy Award for her eleven-minute portrayal of Queen Elizabeth. After that I was all excited about the Showtime series THE TUDORS and I started watching all things Elizabethan from Netflix. I watched the Channel 4 mini-series on ELIZABETH I that featured Helen Mirren. Six hours of fantastic film that earned Mirren an Emmy and a BAFTA.

Recently, while I was on my Judi-Dench-Cate-Blanchett kick, I saw NOTES ON A SCANDAL. Judi Dench was positively evil in the film, Cate Blanchett was achingly vulnerable. I really enjoyed the film. My world would be perfect if they'd find a way to get Helen Mirren, Cate Blanchett and Judi Dench to work on something together.

Of course, I thought it would be wonderful to see EVENING because of all the incredible actresses in it. Glenn Close, Meryl Street, her daughter Mamie Gummer, Vanessa Redgrave, her daughter Natasha Richardson, Toni Colette, Claire Danes. I went opening day. In the end, all I can say is that I wanted it to be so much stronger than it was. I didn't like the way it was edited and some of the dialogue was just too precious. I liked the idea so much better than the actual film.

Posted by Cyndi Greening at 12:29 AM | Permalink

BY CYNDI GREENING, ARIZONA, USA — I'm back from the Northwoods. Just in time. The Shea house closed today. The real estate agent called and emailed that everything went smoothly and it "recorded." It's funny how every industry has phrases that are really significant. Apparently, "recorded" is such a word in real estate. That is the golden moment in the home sale. It must be like "distribution deal" or "greenlight" in indie film. I'm optimistic that the closing of the house will create new openings for future opportunities. It certainly shifts things around. Closes that chapter.

Posted by Cyndi Greening at 11:44 PM | Permalink

BY CYNDI GREENING, ARIZONA, USA — The number one rule of independent filmmaking is always use Other People's Money (OPM), preferably a studio's money or a distributor's money. How many times did I give that lecture? Don't use your credit cards. Don't use your family's money. Don't use your friends' money. Statistics say that it is almost certain that your film will not make money; that you'll lose your friends and alienate your family.

The students always argue with me during this lecture. They talk about Morgan Spurlock's film, SUPERSIZE ME. Some folks will talk about Kevin Smith's success with CLERKS. Occasionally, someone will remember the more obscure but equaly suprising Robert Townsend film, HOLLYWOOD SHUFFLE. They like to recall the miracle filmmaking stories, stories about the people who do just this sort of thing and end up with a wildly, financially-successful film. It's my job to remind them that there are THOUSANDS of filmmakers who follow that film financing path into a very dark tunnel. If a distributor or producer gets behind your film, chances are that they see an opportunity for financial success. Since they've made a whole lot more films than you, that's a good thing. If the money people don't get behind you, they may be doing you a favor in the long run. They may be saving you a lot of heartache and a lot of money. Unfortunately, it's impossible to get distributors to fund educational projects ahead of time. They want to see the finished product to know if the story hangs together because, well, let's be honest, it's students learning by doing. They're cautious about giving money to that sort of thing.

So, how did I end up in the rabbit hole that I did? Surely I know the rule about OPM. If there's anyone who knows this rule, it is me. When I told my filmmaking nephew that I was well over $80,000 on these two films and was probably going to go over $100,000 by the time they were done, I thought he was going to have a stroke. "Are you out of your mind?" Jason gasped. "You used your money? Is that why you sold your house?"

Well, there's nothing like being called on the carpet by someone half your age. And, if I wasn't feeling stupid before he started lecturing me, l surely got there within a few seconds. To add insult to injury, Pamela edited a short video piece on what it took to finance the two Zambian films. I think she should enter it in film festivals or send it to every university and college with a film program. I think they will find it quite educational, perhaps even amusing. Or not.

• Cyndi's Houses (quicktime)
• Cyndi's Houses (swf)

So, now, I've added a new portion to my lecture on OPM. So, if you decide it's a good idea to go to Africa to make two films (and encourage 18 faculty and students to come with you for the learning experience of a lifetime), make sure the OPM you get is waaaaay more than a small educational grant that only covers the flight for about a third of the crew. Unless you don't care if you anyone ever actually sees the films that you made.

Posted by Cyndi Greening at 12:46 PM | Permalink

BY CYNDI GREENING, PHOENIX, USA – Tonight, the series finale of Showtime's THE TUDORS is on. I've really been enjoying the series but I've read on the chat boards that this last episode is a bit boring. One post commented that they need us to come back for season two (like we wouldn't want to find out how Anne Boleyn falls from favor and "loses her head" after only a thousand days of being wed to Henry) so nothing could be resolved but, in spite of that, the overall commentary in the blogosphere is that it is disappointing. (Maybe this means I'll love it because my expectations are diminished.)

The thing I'm disappointed about is that they took dramatic license with the death of Princess Margaret. So many other things had been done so accurately and so well, I couldn't believe they would alter the date of her death so severely. Margaret (who was only two years older than Henry) died five years AFTER Anne Boleyn was beheaded. In the ninth episode of the series, Princess Margaret is consumed by consumption before Henry and Anne have even married. I can't figure out why they felt compelled to do that. It does not seem like was necessary for the drama. There were enough other things going on with Wolsey, Cromwell and the Suffolk Triumvirate. Now, I find myself double-checking all of the other facts.

Posted by Cyndi Greening at 04:56 PM | Permalink

BY CYNDI GREENING, PHOENIX, USA — I've been enjoying the Showtime series, THE TUDORS. Jonathan Rhys Meyers has been the "rock star" version of Henry VIII with Natalie Dormer playing the object of his affection, Anne Boleyn. Since it is, obviously, a period piece, there is a considerable amount of the budget committed to costumes and sets and stunning exteriors. The attention to the cast has been equally detailed. While there are a number of great performances, I am quite interested in 24-year-old Henry Cavill in the role of the Duke of Suffolk. He dominates nearly every scene he is in. I'm anticipating that we'll see a lot of him in the future.

As often happens when I'm watching something, I'll go looking on IMDb Pro for more information on the performers and production crew of a particular piece. In the case of historical dramas, I'll start looking for details on how things turned out historically. I'm getting to be quite knowledgeable about The Tudor period and the reign of Henry VIII. While looking into what happened to Catherine of Aragon (the daughter of Ferdinand and Isabelle of Spain), I found there is a film that will release in December of 2007 called THE OTHER BOLEYN GIRL.

Based on a best-selling novel by Philippa Gregory, it's about the ambitious Boleyn girls, Anne and Mary. The film stars Natalie Portman as Anne and Scarlett Johansson as Mary with Eric Bana playing the young Henry. Spanish actress Ana Torrent will appear as Queen Catherine. I'm anticipating an excellent script. The orginal material was adapted by Peter Morgan, the screenwriter who wrote THE LAST KING OF SCOTLAND (which helped Forest Whitaker earn the Best Actor Academy Award) and THE QUEEN (which helped Helen Mirren earn the Best Actress Academy Award). According to IMDb, the film was shot on the Panavision Genesis HD Camera in numerous locations in England (including Kent, Dover, Cornwall and Wiltshire).

While I took quite a few history classes in high school and college, my memory of Anne Boleyn was limited to the fact that she was beheaded. I've been reading up on her and recalled the book written about her reign (ANNE OF A THOUSAND DAYS). Amazingly, it took Henry seven (7!) years to get a divorce from Catherine of Aragon. He married Anne immediately; yet, she spent less than half that time as the Queen. She gave Henry one daughter (the woman who would become Elizabeth I, also brilliantly played by Helen Mirren) and miscarried a son and another daughter. Current theory is that she was falsely accused of adultery, treason and witchcraft to elminate her for political expediency. The rhyme to help you remember the fate of Henry's six wives: divorced, beheaded, died, divorced, beheaded, survived. Ultimately, it was far safer to be Henry's mistress than it was to be his wife.

Posted by Cyndi Greening at 12:39 AM | Permalink

BY CYNDI GREENING, PHOENIX, USA – I spoke with filmmaker (and former student) Kohl Glass today about his adventures in Los Angeles since his short film screened at Sundance 2007. He talked about the meetings he's been taking, the offers he's been getting, how it's going with his managers. It's all so interesting. Another friend, Lucas (an actor) is going through the process of finding a manager and representation. We also got talking about another former student, Jake Parker, the wonderfully talented Agent 44. He has publications for sale on his site AND an amazing list of artist links. Enjoy!

• Andrew Shek Elephant Art
  
• Ágreda an astonishing assortment of art
  
• Bellstorf Das is gooood
  
• Ben Balistreri Character designs
  
• Ben Hatke Zita!
  
• BlueSky Studios Challenge
  
• Character Design Designer interviews
  
• Clio Chiang Sweet Fluidity
  
• Dan Paladin: The Master AND Commander
  
• Dare Detectives Ben Caldwell
  
• Dean Trippe Prolific Simplicity
  
• Delpurgatorio that's his real name
  
• Devil Pig Studios The Inspired Dave Johnson
  
• Doug Tennapel Creature Tech
  
• Eric Canete One of the best
  
• Eventide Creative Kohl Glass
  
• Fenian Music by Angus
  
• FLIGHT good read
  
• Gabriele Pennacchioli Crazy Italian
  
• Guy Francis Fun children's books
  
• Israel Sanchez Impressive
  
• James Baker The Gentleman's Artist
  
• Jeff Matsuda The Batman Man
  
• Jillian Tamaki I like it
  
• Joao P.A. Ruas crazy delicious
  
• Joel Carroll super heros and video games
  
• Jordan Crane sweet simplicity
  
• Kazu Copper and Amulet
  
• Kevin Dart Really cool art
  
• Lambey's Log super style
  
• Limbert Fabian dig it
  
• Lorin Wood conceptual art
  
• Los Fokos Muy Awsomo
  
• Martin Wittig Character designs
  
• Master Jie
  
• Matthew Bernier Pretty stinkin good at comics
  
• Mike Laughead nice designs
  
• Monkeyfeather John Hoffman
  
• PSG one of the brilliant minds of our time
  
• Rad Sechrist comic artist extroidanaire
  
• Rafael He draws, I promise.
  
• Reagan Lodge As awsome as he is cool
  
• Rey power packed
  
• Robert Mackenzie Illustration at its finest
  
• Saigon Radio Super awsome
  
• Sam Weber eery and cool
  
• Sang Jun I beat him at chess
  
• Satzinger and Hardenberg Characters!
  
• Scott C Loquaciously Charming
  
• Scullduggery Doug Holgate
  
• Sean Wang Runners
  
• Shawn Alan Peters
  
• Simple Stroke Dice Tsutsumi
  
• Sparth Nicolas Bouvier
  
• TaylorTot Moroni Taylor...Certified genius
  
• The Dog House bluesky homie
  
• Thomas Herpich This is good!
  
• Threadless Don't knock it 'til you try it
  
• Tim Boyle 1/3 Architect
  
• Uncle Wya Invincible
  
• VanBeater Trevor is totally rad
  
• Verabee The cute style I wish I had
  
• Vincent beats me at chess
  
• Willie Real pen and ink ninja
  
  

  Posted by Cyndi Greening at 08:46 PM | Permalink

BY CYNDI GREENING, PHOENIX, USA — The NEW Golden Age of Mexican Cinema has dawned and the key players are filmmakers Alfonso Cuaron (CHILDREN OF MEN), Guillermo del Toro (PAN'S LABYRINTH), and Alejandro Gonzalez Inarritu (BABEL). They have formed Cha cha cha, a production partnership debuting with Universal Pictures and its Focus Features International unit for financing, international sales and distribution on an upcoming slate of five films. The new projects include directorial efforts for all three men, as well as new films from writer/directors Carlos Cuaron (Alfonso's brother, co-author of Y TU MAMA TAMBIEN) and Rodrigo Garcia (NINE LIVES). Garcia also directed five episodes of SIX FEET UNDER and six episodes of CARNIVALE. Unfortunately, GABRIEL GARCIA BERNAL and DIEGO LUNA aren't in the partnership. The new golden age of Mexican cinema also boasts a couple of incredible acting talents.

The thing I love most about these filmmakers is the raw energy and pure passion of their films. A few years ago, I spent a summer in Guadalajara, Mexico, studying language and literature. Inarritu's AMORES PERROS was just coming out and it was the talk of the city. It was a harsh film. At points during the film, I kept thinking, "What is the big deal about this film?" And then, the story came full circle and paid off in a powerful conclusion that had me thinking about it for days. It reminded me of the Macedonian film BEFORE THE RAIN. A non-linear story that hung with me for a very long time. A week later, we saw Cuaron's Y TU MAMA TAMBIEN. I don't know if my experience was altered because I saw those films with Mexican audiences; I only know that I was greatly affected by them. Checking IMDB Pro, I'm looking forward to their upcoming films. Andele!

Posted by Cyndi Greening at 08:24 AM | Permalink

BY CYNDI GREENING, PHOENIX, USA – When Margaret's daughter Bridget was younger, she always used to say that I reminded her of Velma on Scooby Doo. The combination of over-size glasses combined with the over-reliance on all things analytical, I guess. Well, today I noticed online that Linda Cardellini ("Velma" on the live action Scooby Doo films) is set to star opposite Paul Walker in HEAVEN PROJECT, an indie drama being directed by John Glenn. The story follows an ex-con who is sentenced to death and wakes up from his lethal injection in a small Oregon town. Working as a groundskeeper for a mental hospital, he is told he was given a second chance by God but questions whether he ever really died.

Most folks are familiar with Cardellini from ER, of course, but it was her role as the murderous Chutney Winhdham on the comedy LEGALLY BLONDE oppostie Reese Witherspoon, that really caught my attention. It was a small but critical role because the resolution of the film depended on her performance. The SCOOBY DOO films followed that role. Recently, she appeared in the Academy Award winning BROKEBACK MOUNTAIN. She played, Cassie, the post-divorce love interest of Heath Ledger. I enjoyed the subtlety of the role. Since the audience knows of Ledger's relationship with Gyllenhaal, there is a bittersweet melacholy in her effort to sustain a connection to Ledger and his daughter. I'm eager to see what she'll do in this new role.

Posted by Cyndi Greening at 01:40 PM | Permalink

TERMINATOR FOUR is coming back. The Halcyon Company has acquired the franchise rights to the popular movie series from C2's Mario Kassar and Andrew Vajna, intending to make a new trilogy that would anchor the movie company. TERMINATOR FOUR will be based on a script by John Brancato and Michael Ferris, which was part of the transaction. Halcyon plans to immediately begin preproduction on the film. While no distribution agreement has been set, Halcyon is hoping that "T4" will be ready for release in the first half of 2009.

The deal includes the right to produce any future Terminator films, as well as all future merchandising and licensing rights, certain future revenue derived from TERMINATOR THREE, as well as certain rights in the television project THE SARAH CONNOR CHRONICLES and the sole right to produce all future Terminator projects in any new or existing media.

Posted by Cyndi Greening at 07:02 PM | Permalink

BY CYNDI GREENING, MANHATTAN, USA – The irony of it is noteworthy. I spent ten days in NYC covering the Tribeca Film Festival, researching a story and meeting with potential distribution sources for the Zambia films. All in all, a productive and encouraging week. The weekend arrives and I'm getting ready to return to Phoenix. Alec asks, "If you love film and filmmaking so much, why didn't you ever move to NYC or LA? That's where the industry is." I explain that my teaching job is at a college in Mesa (which is not in LA or NYC) and that he was growing up in PHX (which kept me there) and I was always a little bit afraid to move in case I wasn't talented enough to make it. Now, after he's grown, I've grown accustomed to a substantial paycheck which makes it challenging to consider any options besides continuing down the teaching path. The "golden handcuffs are on, the mortgage must be paid.

He says all sorts of complimentary things about how smart and talented and skilled I am (he is, of course, terribly biased) and says I'm silly to have worried about such a thing. "I can't work somewhere for $10 per hour or as a "free" intern to get into the business," I say, "I've got to be pragmatic here." He tells me that I am getting in my own way. Do you get the irony here? This is what I am always telling him. Get outta your own way! Why is it so much easier to see what other people should be doing than acknowledging what one needs to adjust? The best thing about this whole conversation is that Alec started noticing how he was getting in his way and I was able to look at my "issues." I can rationalize it by noting that we're both doing "better."

With Todd's help (thanks Todd!), Alec is getting his own job for PBS. He'll be working on a documentary. He has to scan a bunch of photos in HD and then animate them using AfterEffects. Big fun. He's been working on commercials for Dove and several Broadway shows. He was doing a toilet brush for a while (don't really know what commercial that was for). Regardless, he's building some good solid skills and is getting guidance from a post-production artist with a lot of great credits. It's a good thing for a 19-year-old from Phoenix. He loves working. While I was in New York, he rarely got home before eight (8) in the evening.

There's another thing I'm noticing that really gets in the way ... OTHER PEOPLE ... whether it's jealousy or a desire to have one's selfish needs met, several of the other crew members and I have found many other people to be quite unsupportive. There are snide comments about how we're sooooo important now or that we just don't know what it's like to be an average person anymore. We've got family members complaining about things that take us away even though they're not really there when we are. I've decided that one must be extremely determined, self-confident and focused to make it in this business. There are so many things that will come up to stop you (besides yourself), you have to be a real animal about finishing. It brings to mind the Kim Basinger quote about why she was successful when so many others were not ... "They all quit a week too early," she said. So, we're all on the path now, running for the finish line. We'll have to see who crosses and who quits a week too early.

Posted by Cyndi Greening at 11:38 PM | Permalink

BY CYNDI GREENING, ARIZONA, USA – I'm a BIG David Fincher fan. I was totally hooked when I saw SE7EN. Growing up Catholic, any film about the Seven Deadly Sins would surely appeal to me. That, and Nunzilla wind-up toys. Back to Fincher. His films are always such a visual feast. Excellent cinematography, amazing lighting, awesome set design, stunning costumes and make-up, great attention to story and emotionally-compelling editing.

I was just as crazy about FIGHT CLUB. I just didn't see the ending coming. I was so shocked. And, I loved it. Again, visually stunning. Brad Pitt, Jared Leto and Edward Norton. Great performances. And, the DVD extras made the film even better.

He recently completed ZODIAC, a film about the San Francisco serial killer. The website is wonderfully visual. Go take a look at the intro shot coming over the fog-shrouded Golden Gate Bridge. StudioDaily has an interview with his digital cinematographer Claudio Miranda. According to the interview, Miranda says, "Originally I was an electrician for him, and I was his gaffer on Fight Club and The Game. I was David’s Viper guinea pig on a commercial, Xelebri [which won the 2004 Clio Award Bronze for Best Cinematography]. I was a little skeptical, but we liked the results. The highlights were good. That experience was interesting." Check out the rest of the interview to get details on shooting night scenes.

Posted by Cyndi Greening at 10:31 PM |