A NEW FILM FROM DIRECTOR STEVE BALDERSON & SCREENWRITER FRANKIE KRAINZ
Year of the Dragon: 2012
Thank you for your interest in our upcoming production. Please read the entire manifesto below and follow the instructions.
Thank you,
Steve Balderson
TO POTENTIAL CAST & CREW:
For those of you who haven’t worked with me before, it is highly recommended that you watch the WAMEGO documentary trilogy about me and my DIY filmmaking. Especially parts TWO and THREE. They highlight in greater detail what I’m about to tell you in this note. You can get them at www.DIKENGA.com or on Amazon.
Part ONE is available FREE on YouTube at this link:
http://www.youtube.com/watch?v=-EouCltpsVo
In 1997, I made my first film PEP SQUAD. It was a campy, subversive satire on America that predicted what would become a string of school violence incidents. It was shot on 35mm and cost roughly $500,000. It took six weeks to shoot with 40 people on the crew and with long, tiresome fourteen-hour days. In 2000 after the controversy surrounding American school violence had calmed down it was released on VHS (in addition to the yet-to-be universally accepted “world wide web,” DVDs were not established yet). 2010 marked PEP SQUAD’s 10-year anniversary with a special Blu-ray release from Lloyd Kaufman’s Troma. Critics have called it the best B-Movie ever made and it has become a cult classic.
In 2003, I made my second feature. It was a $500,000 film called FIRECRACKER, shot on Super 35mm, which Roger Ebert named on his list of 2005’s Best Films. It was a demanding production: eight shooting weeks, six days per week, fourteen hour days, 42 people on the crew, hundreds of thousands of dollars spent on camera and lighting equipment rentals, housing and feeding people, costumes, sets, equipment trucks, cables, generators, and on and on.
When it came time for FIRECRACKER to be released, the rules of the film industry were rapidly changing. The Internet had become massive, everyone had email, DVDs had replaced VHS, and certain companies weren’t buying movies the way they had a few years prior. The exclusive independent film deals from Hollywood Video, etc., were nonexistent. The top-tier film festivals were becoming “owned” by sponsors who dictated which movies they could screen (often these movies were also funded by said sponsor), industry “buyers” were offering less and less upfront payment for distribution rights, and even if you did make a sale (like we did) they would likely never pay you (fairly, or at all).
We struck a distribution deal with two companies: one for domestic and one for international. Internationally, the rights for FIRECRACKER were sold to companies in Greece, Germany, Australia, Thailand, the Middle East, the UK, Scandinavia, South Africa, among other countries. As of December 31, 2009, the foreign sales receipts added up to $97,240. NOTE: This is six years after we filmed it.
FIRECRACKER was also released in the USA. AEC One Stop, Baker & Taylor, Blockbuster, DVD Empire, Hollywood Video, Ingram Entertainment, NetFlix, among other re-sellers. As of March 2007 (our distribution company refuses to send us additional reports) the total domestic sales receipts added up to about $159,468.
Did we ever see that money? No. With all their so-called “marketing” expenses—First-Class flights to festivals and markets in Milan, Cannes, Berlin, five-star hotel rooms, and other useless fees—it was clear to me that we would likely never see anything.
Then there came a story on the front page of the New York Times about the producers from the Oscar-winning film CRASH not yet receiving any money from their distributor. Turned out we had the same distribution company. No joke.
Could we have taken legal action? Sure. We probably still could. But it would cost more money to fight them than any we’d get in a settlement. If they are ripping off big-guy Oscar-winners, who do have access to the kinds of money to pay for legal fees, there is no way us little guys even have a chance. And if we did fight them and win, we’d be broke in the end regardless.
So we saved our time, money and energy, and moved on. Productively.
By that point the industry had changed so dramatically I wasn’t sure what was happening. HD Cameras were becoming technically more advanced. They were finally beginning to have the look and feel of celluloid. Shooting on actual film was becoming obsolete.
Then I got an idea to do a documentary on the life of my friend—Los Angeles icon, writer/poet, and punk rock royalty Pleasant Gehman (aka universally celebrated belly dance star Princess Farhana). Traveling with her, and filming her for a year, really helped put my career path in perspective. Why was I making movies to begin with?
I didn’t need to have fancy equipment trucks lining the streets so it would “look” like I was making a movie to passers by. I didn’t want the phony photograph with hoards of crew people posed behind me while I stood nose-to-the-sky next to the 35mm Arriflex. I know those kinds of filmmakers and that isn’t the kind I aspire to be. My desire is about what’s on screen. What is there for the viewer.
When a person is watching a movie they can’t see what kinds of snacks are on the craft service table, or if any of the actors had personal make-up trailers. So why should I waste the money on frivolous stuff that doesn’t enhance the image? Why worry about it?
I realize that many independent filmmakers out there try to mask the fact they don’t know what they’re doing by “playing the part” of Director. To passers by, so long as they “look like” a director, they will feel like a director. And the equipment, crew, cash, and drama of the “production” become props in their disguise. And without those props they would feel amateurish and worthless. And they will often talk down to the ones who don’t follow in their footsteps.
During this time, I learned David Lynch was planning to downsize from celluloid to video with a project called INLAND EMPIRE. Getting rid of all the “production” associated with film and moving to digital has tremendous cost savings. By omitting shooting on celluloid, we filmmakers would omit having to house and feed 42 people. We also omit the excessive equipment rental costs and several hundred thousand dollars of unneeded expenses associated with a project shot on film.
I started thinking really seriously about the way Kubrick shot his movies. And the way Cassevetes liked to work.
They preferred a kind of intimate production. One where the crew was made up of just a few people: they did their own camera work, had just one or two people on the crew (sound, lighting) and a few actors. Why, it would be no different than a few friends shooting in their backyards like we all did in film school. It would appear to passers by to be exactly the same. Amateurish. Except that each person in that small group would be respecting their craft. I realized that so long as there is a respect for what you’re doing, the appearance to passers by is totally irrelevant.
There would be no glamorous shoot, no luxuries, nor stylists applying make-up to actors in high-back chairs with their names stenciled on them. It would be punk rock, baby. We’d have to do our own work. Lift our own camera case, do our own make-up and hair, bring our own lunch to the set. Passers by wouldn’t stop. They’d keep right on walking, paying us no mind at all. We would be free of onlookers. We would also be free of actors or crew people who placed more emphasis on the appearance of the set than they did their actual craft.
That possibility excited me to no end.
We began doing research on the best equipment to invest in, best sound package, and best HD camera (we judged each camera based on the level of color captured, best sound captured, and overall user experience). Months later, we had the whole set up.
When I was finished with my documentary UNDERBELLY, I was ready to make my next narrative feature. And I wouldn’t need so much money after all. By owning my own equipment, omitting unnecessary personnel and expenses, and keeping costs as low as possible, it would be possible to make a feature film for less than $50,000.
This also appealed to investors. Distribution has changed significantly since the glory days of the million-dollar buys at Film Festivals. That simply wasn’t happening any more. A top sales rep told me, “no company is buying low-budget independently made films for more than $50,000. And if you got that much you’d be one of the lucky ones.”
The first project to test if my new renegade style of filmmaking would even work or not, was an adaptation of Joseph Suglia’s dazzling novel WATCH OUT. Could I really make a feature-length movie using only two people on my crew, with me doing all the camerawork, and still make it high-quality art?
The answer was a big loud YES.
WATCH OUT, which became my third feature film, was shot in two weeks. Our working days were incredibly light. We’d start shooting at 9 AM and on a few days we were done by 4 PM. It felt like summer camp and everyone had a ball.
The film was highly praised by critics as “One of the great cult films of all time, (MJ Simpson).” WATCH OUT also premiered at the Raindance Film Festival in London to sold-out crowds, where it was nominated for Best International Feature.
A review in Film Threat wrote, “(Balderson) makes movies that are so gorgeous that it's not unreasonable to say that, cinematographically at least; he's the equal of an Argento or Kubrick in their prime. Some people have perfect vocal pitch, Steve has perfect visual composition.”
WATCH OUT was released theatrically in 2008 to sold-out audiences in the roadshow “Stop Turning Me On” world tour. It was released on DVD in October 2008, where it debuted at #24 on Amazon.com’s Top 100.
The third and final installment of the WAMEGO TRILOGY on DIY Filmmaking (WAMEGO: ULTIMATUM) chronicles how we did it.
Trailer: http://www.youtube.com/watch?v=9pUkjOjsj-k
Once I knew we could do it, I decided to raise the bar a bit more and experiment with a cast of all well-known actors. The production would cost and be the same = the film would be shot in my new renegade style, without permits and in a secretive manner. There would be no equipment trucks lining the street, no craft service table, no excessive lighting or camera gear, no substantial crews, or anything to attract attention. The cast and crew would resemble tourists, which would give the production the freedom to do whatever we wanted, whenever we wanted.
With no make-up or costume person the cast would be required to do their own make-up, take care of their own costumes. We’d all be staying in people’s homes, not hotels, and would have to accept there would be no cash per diem.
I approached several stars, some I’d worked with before, and others I hadn’t, and to my astonishment, they all agreed.
That project, my fourth film, became STUCK!
When I called SAG to ask them if they had special deals for projects under $50,000 they laughed at me and said, “It’s impossible to make a feature-length film for less than $50,000.” They also said I “needed to seek professional help.” Actual words.
But, they were wrong. I had just proven it was possible with WATCH OUT. I thought about telling them, but decided that they were just like those insecure filmmakers who needed all that phony “stuff” for passers-by. Trying to educate SAG on the reality of the situation was going to be a waste of time.
The STUCK! shoot was marvelous.
One of the best parts was the food. See, when the cast and crew are only a handful of people it is possible to go to someone’s home for a dinner party. You can eat superior food. Feeding 42 people on a traditional crew likely means scraps and bulk-made meals. And there is no intimacy about that kind of thing. With a set like mine we eat homemade slow-cooked masterpieces every night. We can sit around the same table. It becomes a far more rewarding experience.
Like WATCH OUT, the STUCK! shooting days were just as efficient. We’d work from 9 AM and wrap around 5 or 6 PM. We worked every day with no days off. It took less than two weeks to complete.
The reviews were amazing: Film Threat writes, “Balderson just doesn’t make simple films, and this is no exception. It’s not in the words, or the plot or the story; but it’s in the air, it’s in the beat, it’s in the very soul of the work.” The LA Weekly said it was “Revolutionary.” And UK Critic MJ Simpson writes, “Steve Balderson is the best-kept secret in American independent cinema. He makes his own films - which are unfailingly brilliant - and the rest of the world very, very gradually catches up with him.”
In February, 2010, the American Cinematheque hosted the LA Premiere of STUCK! at the Egyptian Theatre in Hollywood. The cast was there with me to present the film and do a Q&A after the screening. One of the people in the audience mentioned that because all the actors were there, talking enthusiastically about this new way of filmmaking, it spoke volumes about the process.
I signed a deal with a sales agent who is selling STUCK! to buyers around the globe.
In the fall of 2010, I put together another top-secret film shoot and produced my fifth narrative feature THE CASSEROLE CLUB. A couple new stars joined the group for this shoot: namely Kevin Richardson (from the Backstreet Boys), Daniela Sea (from the L Word), and acclaimed stage actress Jennifer Grace. We made the film in Palm Springs in exactly the same way we made STUCK! and WATCH OUT. The entire experience is captured in director Anthony Pedone’s documentary CAMP CASSEROLE.
Here is the opening credit sequence for CAMP CASSEROLE: http://www.youtube.com/watch?v=d3lY-gV1UgY
The shoot was a lot like summer film camp. We rented a few vacation homes that would serve as the locations, and also would house all of us. Staying together in the same place was magical. Each day we’d gather to film scenes, and if any actors weren’t working, they would lounge by the pool, read a book, and basically turn their time on the set as a vacation. This aspect of the shoot was the best. I make sure that we’re doing the work we need to do, but it’s just as important for me to create an atmosphere that is a rewarding experience personally.
Each evening we would have a meal sponsored by one of the cast or crew, or friends and family. Imagine being at summer camp and coming together over a meal and singing Kumbaya. That’s exactly what it was like! Only instead of singing Kumbaya, per se, several people would pull out their guitars and do an impromptu acoustic concert; or, there would be fun short films being made; or, night swimming and gazing up at the stars with a great conversation.
Casting and crewing a movie is the most challenging part about making one of my movies. Even if you are the best in your field, or the greatest performer, it’s incredibly important that I select the right combination of people to create our ideal environment. When we’re living together in such close proximity to each other, and work and play morph together, and considering the speed at which I work, it is imperative that each personality work well together—like creating the perfect recipe—each ingredient matters or could throw off the whole thing.
So in addition to taking a look at your skills and talent; I’m also looking at how you see the world, interact with others, and how your unique ingredient might give flavor to the final dish.
One of my favorite moments filming THE CASSEROLE CLUB came whenever we needed to do some exterior shots around the Palm Springs area. We’d just jump in my car and drive around until we’d find the greatest place, jump out, film it, then rush back to the car and speed away as if nothing ever happened. This is the kind of freedom I love work in. It’s exhilarating.
THE CASSEROLE CLUB premiered in June 2011 in New York City where it was nominated for nine Independent Vision Awards at Visionfest. We ended up winning five: Best Picture, Best Director, Best Actor (Kevin Richardson), Best Actress (Susan Traylor), and Best Production Design.
The reviews have been unbelievably awe-inspiring. Foreign distribution was sold to a company who will unveil the film at the Berlin Film Market in February 2012.
As soon as I started feeling more confident as a renegade filmmaker, I decided it was time to try it again, but taking it up a notch by shooting overseas. I wanted a challenge and something new to tackle, but still wanted it to be something within reach. I set my sights on London and Paris.
My film CULTURE SHOCK is an action comedy in the vein of “Indiana Jones,” and yet, something entirely new. It’s neon, punk pop and it has a pulse. It’s about four college graduates from the USA who take their first trip overseas and get caught up in an international crime ring.
When I sent actors the script, and spoke to friends about it (even those I’d worked with before), most all of them were speechless and asked: “How do you think you can make an action movie in Europe for no money and without permits? Are you insane?”
I know, it’s true that people say “You can’t make a movie in London without permits,” or “It’s totally unheard of to make a movie in London without permits,” or “There is no way you will ever succeed.”
Well, we did.
There were a few people I’d worked with in the past, but most the cast and crew came from England, Ireland, and some people flew in from other nearby European countries to work on the film. Working with an international team was really exciting.
As with all of my shoots, the production moved swiftly, on time (I usually average several hours ahead of schedule each day), and with ample time for meals and camaraderie. Plus, we didn’t get arrested, fined, trapped or delayed.
I am thankful I learned how to keep my crew as small as possible before attempting this in Europe. It was difficult at times because the CULTURE SHOCK cast was made up of nearly 90 people. But, here’s a photograph of my crew (all of our equipment fit into that backpack):
See what I mean?
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My new film is ADVENTURE OF THE FAR FLUNG STAR. It is an action-comedy about an actress who gets caught up in an international spy chase when she tries to help her brother locate a hidden secret. It will begin filming in the Los Angeles area, and then we will travel to Hong Kong. As of now we are set to begin shooting end of March 2012 for several weeks, though that schedule may change.
We are keeping the screenplay top-secret and will only make it available when the time is right. The film will be produced the same way I made CULTURE SHOCK and should only take a couple weeks. Not every actor is needed for the entire shoot.
You will work for deferred pay. I know that often times translates as “never get paid,” but in my case it isn’t the case. I have started the payout schedule for STUCK! and am fairly confident that as I continue to make films, past and future projects will have an added attraction for buyers.
Upon selling the film, here is the payout schedule:
After all debt and marketing expenses are paid, first-tier deferred compensation to cast or crew selected for first-tier deferred compensation, will be paid on a pro-rata basis to all those entitled to receive deferred compensation, with the exception of myself and any second-tier deferred compensation commitments.
Once all first-tier deferred compensation is paid, the film’s investors will be paid on a pro-rata basis with all other investors until their initial investment is recouped.
Once all the investors have received a return, the next dollars of revenue will be used to pay deferred compensation to myself and any second-tier deferred compensation that may have been committed.
It’s very important you understand I’m not being paid until AFTER everyone else is. We’re in this together. No one makes money upfront. And if we win, we all win.
Each of my films has been distributed worldwide and each received critical success. There is no risk the film won’t be seen.
I do understand that my way of making films may not be for everyone. Please know you can be totally honest with me. I won’t hold any bad feelings if you can’t do something like this right now. You will always be considered for future projects.
Working on one of my films is a one of its kind experience. No long hours. No stress. Good food. Making art. It’s fun. The new era of independent filmmaking is here. It just might be a filmmaking experience unlike any you will ever have so long as you live.
More information is available for serious inquiries only.
* * * * *
To be considered as an actor, or crew member, please copy-n-paste the following questionnaire (to include the questions asked), answer the questions, and email to me via -- films @ dikenga.com
1) Did you read the entire manifesto above, and do you understand my style of filmmaking completely?
2) Do you have any filmmaking experience?
3) Do you have any creative hobbies such as acting, modeling, painting, writing?
4) What is your favorite food? Can you cook?
5) Do you have Skype? (If not, can you set it up so we can visit via Skype?)
6) Are you okay sharing a room with a fellow actor/crew member?
7) Which of my films is your favorite, and why? If you’ve not seen them, which one looks most interesting to you?
8) If I’ve not worked with you before, please provide a reference of a colleague, and their contact information so I can email and call them:
9) What is your contact information (email, phone)?
10) I’d like to see you moving/speaking (cast & crew). Please send me a clip of a showreel or video introducing yourself to me (if you do a video on YouTube, please mark it as “unlisted” so I can share it with other producers):
11) Do you speak any foreign languages, specifically Chinese or Cantonese?
12) You will need a valid passport; is yours up to date?
13) Some countries will require you to have an additional visa. Have you ever applied for a visa to an international country and been rejected?
14) Do you save frequent flier miles, or do you know anyone who might have miles you could use in exchange for a free airplane ticket?
15) Filming will take place in the cities mentioned above. Do you have friends to stay with in those cities?
16) The World Heath Organization requires you to have certain immunizations to enter some countries. Are your Vaccinations up to date?
17) Paste the link to your facebook, website, etc., with photos of you. If you do not have a website or Facebook page, you can email me a jpg if it's less than 2mg in size.
Please note, we are not making the screenplay available to you until the final phase.