Twilight Nation Poster

FREE and open to the public

Seating is limited: RSVP to the  AustinActorsConservatory at gmail.com

As a Reminder, parking signs at St. Edward’s are NOT enforced on the weekends.

SCREENWRITERS BIOs:

PHILIP DAAY
Based in Austin, Philip Daay learned his craft from the late Malvin Wald, the Oscar-nominated writer of the legendary noir classic The Naked City. Born to immigrants, his mother from Thailand and his father from Iraq, Philip’s first break came with the sale of his movie Left In Darkness to prolific television producer/writer Stephen J. Cannell. The movie enjoyed a release on Worldwide DVD and the Sci-Fi Channel (SyFy).

Ever since, Philip has continued his work in the entertainment industry. Past options include a Horror project to Haxan Films/White Ape; the creators of the cult hit The Blair Witch Project. He has also signed a past option on a Sci-Fi/Horror script with producer Robert Kandle and Oscar-nominated producer David Levy. He has recently concluded a Romance/Comedy assignment still in development for director Todd Cantelon and Trillenium Media Group up in Canada.

Philip’s upcoming projects include Black Salt, an Action/Martial Arts/Thriller starring Michael Jai White and Tom Sizemore to be directed by veteran stunt coordinator Nick Powell. He also wrote the upcoming Sci-Fi/Action graphic novel Scionic for Arcana Studios to be published in 2010.

CHRIS ENGEN A talented writer, musician and actor, Chris Engen has enjoyed an extensive career over the past decade. He played recurring roles on varied television shows such as CSI: New York and Felicity and main character roles for Saints & Sinners and As If. His movie career began in 2004 with DIRTY DANCING: HAVANA NIGHTS. His acting continued as one of the main characters on the movie LEFT IN DARKNESS written by Philip Daay. His latest projects include primary cast in EASY RIDER: THE RIDE BACK the official prequel to the classic EASY RIDER in 1969 starring Dennis Hopper. His collaborative relationship with Philip began on the set of LEFT IN DARKNESS which culminated with Twilight Nation.

More about Script to Screen:

The Script to Screen series is a LIVE read with professional actors of un-produced film or TV scripts before an industry audience. Our scripts are selected from professional writers and/or script festival winners. They are rehearsed, directed and performed by professionals before industry casting directors, producers, directors, potential investors and industry pros for one performance only.

The Script to Screen program began in Houston in 2007 and has grown to now include regular reads in the Austin and Dallas area. Production, financing and re-development of these projects has been the result. Script to Screen is committed to helping professional writers present their work to potential investors and provide a level of talent that can help facilitate casting. Our goal is to provide more work opportunities for industry professionals living and working in Texas.

We are currently casting for our next Script to Screen production. Please review the following breakdowns for BOTH pilots.

Actors for consideration YOU MUST BE A PAID-UP SAG/AFTRA MEMBER. Please submit your headshot and resume and the role(s) you are interested in to  sheila.cooper at sag.org.

Participation requires a commitment of one performance held at on Sunday, JUNE 6, 2010 and 2 rehearsals on Saturdays, MAY 15 and MAY 22, all in Austin. This is a live performed read by professional actors BEFORE INDUSTRY PROFESSIONALS. DEADLINE FOR SUBMISSIONS IS MAY 7, 2010. AUDITIONS BY APPT ONLY ON SATURDAY MAY 8, 2010 OR BY VIRTUAL AUDITION. (ask for details when submitting)
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AUSTIN ACTORS CONSERVATORY
SCRIPT TO SCREEN TEAM CASTING FOR “JAKEVILLE, USA”

JAKEVILLE, USA by Jamie Preyer, is a television series pilot. Country Music Legend, Jake Wilson, opens up his place to the reality show “World’s Greatest Stuntman” and all that comes with it.

CAST BREAKDOWN

JAKE WILSON – 50-60, Male, Famous Music Legend. Think Willie Nelson complete with pony tail and beard.

HARPER WILSON – 30’s, Female, daughter to the Jake Wilson, Business professional and stunningly beautiful.

RYAN BAINES – early 20’s, Male, Jake’s Nephew. Fun loving, all American guy

CHRIS JOHNS– 30’s, Male, Tall, handsome, Cowboy type (New York accept a plus)

BEN HAYGOOD – late 20’s, Male, thin, frailer Cowboy

LARRY PRIDE – 30s, Male, TV Producer

EUGENE – 60’s, Male, homeless man that Jack has taken under his wing

VICKY JOY – 30’s, Female, Country comedian with a body like Dolly Parton and a sense of humor like Minnie Pearl

JOSH HURLEY – 30’s Male, TV show host

HONDO – 50’s, Male, Jake’s long time friend and tour bus Driver

NARRATOR (reads all narration and set ups)

COWBOY #1 and COWBOY #2
FEMALE CREW MEMBER #1, #2 – 18-30’s, Female twins
COWGIRL CONTESTANT
CAMERA MAN – No lines but a lot of action
PRODUCER voice over

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AUSTIN ACTORS CONSERVATORY
SCRIPT TO SCREEN TEAM CASTING FOR “TWILIGHT NATION”

TWILIGHT NATION by Philip Daay and Chris Engen, is a television series pilot. Set in the old west, William must choose how he will live his life and after life with the guidance of others.

CAST BREAKDOWN

WILLIAM MITCHELL – 50’s, Male, Gruff Cowboy
GAIL MITCHELL – 40’s, Female, William’s wife
JAKE MITCHELL – 20’s, Male, William’s Son
SHERIFF – 50’s, Male
NORMAN FLANNERY – 40’s, Male, Upscale businessman
BLACK KETTLE – late 50’s, Male, Native American
COMM. ALBERT BOONE – 40’s, Male, politician
MAJOR JOHN SEDGWICK – 40’s, Male
SHANE HARLAN 30’s, Male, Gunfighter
KANATI – 60’s, Male, Native American Elder
RAZIELLE – 20’s, Female, Red-haired beauty gunslinger
EVENGELINE – 40’s, Female, Blond bar owner in a buxom dress
DAIMON – 30’s, Male, Native American
NARRATOR – Reads all narration and set ups
TOWNSMAN #1, 30’s, Male
TOWNSWOMAN #1, 30’s, Female
TOWNSWOMAN #2, 30’s, Female
TOWNSWOMAN #3, 30’s, Female
CHEROKEE FEMALE – 20’s, Female
CHEROKEE CORPSES – 40’s , Male, Native American in a dream sequence.
MESSENGER RIDER – 20’s, Male
UNION SUPPORTS – 30’s, Male
CONFEDERATE SUPPORTER – 30’s, Male

We look forward to your submissions!

Sincerely,
Austin Actors Conservatory

–
Austin Actors Conservatory
c/o Screen Actors Guild
15950 Dallas Parkway, Suite 400
Dallas, TX 75248
(800) 724-0767, ext. 7 or (972) 361-8185

JOURNEY OF THE WORKING ACTOR

Screen Actors Guild Foundation and Screen Actors Guild are delighted to continue offering innovative “business of acting” seminars to Guild members across the nation at no charge, via live video stream on the Internet!

LifeRaft Live Stream allows you to participate online and submit questions to panelists every Tuesday, 6-8pm (PT) through April 27, 2010. To learn more about the program, view the current 2010 LifeRaft Live Stream schedule and to participate in these events online, simply visit the SAG Foundation LifeRaft Live Stream show page at www.sagfoundation.org All LifeRaft Live Stream events are available for later viewing here as well.

The next LifeRaft Live Stream event is:

Journey of the Working Actor
6-8 p.m. (PT), Tuesday, February 9

Join accomplished Los Angeles actor/author Michael Bofshever  www.michaelbofshever.com), along with his stellar panel of familiar-faced working actors, as he discusses a variety of questions pertaining to the many aspects of what it takes to succeed and live the life of a working actor. Topics to be addressed include the Foundation to Having a Career, Audition Know How, Life on Set, Agents and Managers, and the Art of Perseverance.

Michael has taken “Journey of the Working Actor” to over half the SAG branches across the nation and has garnered wonderful feedback – now, LifeRaft Live Stream is happy to share his professional insights with Guild members everywhere.

Guild members who wish to attend LifeRaft seminars in person may visit www.sagfoundation.org to register for seating at the events held at:

SAG Foundation Actors Center
5757 Wilshire Blvd., Mezzanine Level
Los Angeles, CA 90036
(parking will be validated)

Celebrating its 25th Anniversary in 2010, the SAG Foundation is proud to assist, educate and inspire SAG members in their careers, lives and communities. See you online!

Please note: If you are receiving multiple SAG Foundation notices you may have indicated a preference for more than one Foundation email region list. You may review and adjust this option at any time by logging into www.sagfoundation.org and viewing the “Email Notices” setting on your User Account page.

“GETTING YOUR ACT TOGETHER”
Demo Reels, Pictures, and Resumes

JANUARY 24, 2010 – Time: 4:00 – 6:00 PM
St. Edward’s University, 3001 S. Congress Ave, Austin, TX 78704
Ragsdale Center, Mabee Ballroom on 3rd Floor

Join the Austin Actors Conservatory for a candid discussion of what works and what doesn’t and learn how to market yourself in today’s climate.

COST: Members of the AAC: Attend for FREE. Please bring your SAG/AFTRA card for admittance (as a reminder all members of AAC must be paid up and in good standing with their unions). FREE for St. Edward’s students (must show student ID for admission) * Fans of the AAC: $20.00 *All others: $25.00.

Please RSVP for this EVENT:  AustinActorsConservatory at gmail.com

Moderated by Tommy G. Kendrick

Our Panelists Include:

Pictures and Resumes:

DAMON WILLIAMS – Former Casting Director for Ricki G. Maslar Casting; Ulrich/Dawson/Kritzer Casting – in Los Angeles, Damon is a recent transplant from Los Angeles, currently casting: “Twisted Proverbs”, “The Everyday Sun Tzu”. Past projects include: “The God Project”, “Going Postal”, “Manfest”,”The Year That Trembled”, “Black Hole”, “My Best Friend’s Wife”, Speechless”, “XCU: Extreme Close-up”, “Always Greener”. Damon is also a SAG actor, AAC Committee Member and 2010 Script to Screen Chair.

Demo Reels and Other Marketing Tools:

PAMELA WEAVER – Actress, Filmmaker, Film Editor. Another transplant from Los Angeles, Pamela has been performing on stage and screen since the age of 6 years old, touring with the “Weaver Sisters” at USO shows, private clubs, aboard ship, army camps. She has performed in over 100 stage plays on both the east and west coasts, 15 films and 6 television shows. In 2006 she went behind the camera learning film editing, shot her first documentary which is currently in post and creates demo reels for actors. Her first paid gig as a film editor and DP was working for ESPN in 2007. Between acting gigs and chairing the Austin Actors Conservatory, she films and edits virtual auditions and demo reels for actors, internet advertising.

JONATHAN GRUBBS – Film editor, motion graphics designer and published writer, Jonathan has spent the last 5 years editing at a boutique post production facility in Los Angeles where he worked on trailers and television spots for major studio film releases. He now freelance edits and designs motion graphics for television commercials for markets across the nation. His current plans are to expand into visual effects, feature title design and feature editorial in the near future. Past clients have included Universal Pictures, Sony Pictures, Paramount Pictures, major pharmaceutical industry firms, a rock band, documentary and a local Austin independent comedy.

What the Professionals That Hire You Are Looking For – How to Get Their Attention!

MARK LANE — Producer, Capitol Motion Pictures — In 2000, Executive Producer Mark Lane produced the independent Film, The Cure for Boredom, starring Judd Nelson, Seymour Cassel and the late Joe Vitterelli. Fusing all his talent and abilities, Mark went on to form Capitol Motion Pictures, focusing on the production of quality feature films. His feature, the comedy “Checking Out” starring Peter Falk, Laura San Giacomo, David Paymer & Judge Reinhold, was released in September, 2006. Mark’s present position in the film industry culminates years of expertise both behind and in front of the camera. Mark started out as an actor in New York, eventually producing and acting in over twenty off-Broadway plays. Following the path of numerous talented New Yorkers, Mark headed west to Hollywood where he quickly gained recognition working as an actor on such network television shows and feature films such as Hill Street Blues, McGyver, Capitol, Miss Lonely Hearts, Chud 2, Friday the 13th, Fire in the Night, Mass Appeal, Sex & Bullets. Desiring to expand his creativity, Mark began working behind the camera on numerous projects for the three major networks: ABC, CBS, and NBC; as well as for several motion picture studios, including: Paramount Pictures, Universal, Warner Brothers and Lion’s Gate, to name a few. Quickly, Mark rose to Producer, heading up three feature shorts for HBO/Showtime: When Angels Cry, Galatea’s Wish, and Hope’s Creek. He also produced and directed the nominated documentary, Our Father the Bank Robber. Mark studied acting in New York City under the tutelage of Lee Strassberg, Warren Robertson, Uta Hagen & Herbert Berghoff and Alan Rich in Los Angeles. The completion of two films this year ”Bittersweet” won highest honors this years at World fest 2009 Houston starring James Brolin & Kip Pardue and “Shadows” starring William Hurt & Cary Elwes are slated for release this year. The Tribeca Film festival has requested Shadows to have our world premiere for their festival this April 2010.

GARY CHASON, Director, virtually grew up in the theater. He and his two sisters, from the moment they could walk and talk, put on shows for family and friends. He studied classical ballet at Houston Ballet’s academy as well as vocal music, singing in the chorus of the Houston Grand Opera’s production of Tales of Hoffman. He took up directing at the University of Texas and set his sights on becoming an avant garde, experimental writer/director. He created Houston Laboratory Theatre in 1970 and directed an innovative Romeo and Juliet that received excellent notices. He produced and directed one of the most controversial stage productions in Houston during the Seventies: The Beard, an erotic one-act staged at an art gallery in the Montrose District. He also directed two of his original plays at the Equinox Theater: Charlie’s Ear and Denizens. He has had a distinguished career in motion pictures as a Casting Director and Dialogue/Dialect Coach. His casting credits include: The Last Picture Show; Paper Moon; The Getaway; Pretty Baby; and Paris, Texas. He has worked closely with directors Robert Altman, Peter Bogdanovich, Sam Peckinpah, Michael Ritchie, Louis Malle, and Wim Wenders. As a Dialogue/Dialect Coach he has tutored Jeff Bridges, Cybill Shepherd, Cloris Leachman, Brooke Shields, Tatum O’Neal, C. Thomas Howell, and Ann-Margret. His first feature film as a Writer-Director, Charlie’s Ear, won the Critics’ Prize at Mannheim and all the top awards – Best Film, Actor, Director, and Cinematography – at the IMAGFIC festival in Madrid. He produced The Trust, an award-winning feature film starring Karen Black and Sam Bottoms, and has produced, directed, and/or written numerous shorts: Mama Icy’s House; From Nowheresville; Ink on Paper; Little Beauties; A Few Letters Off; More Than Two Dollars, and My Name Is Jeffrey and I’m a Serial Killer. In the field of Corporate Training Videos his clients include Service Corporation International, Shell Oil, The American Bar Association, The Texas Young Lawyers Association, Liveris Digital Productions, Hoefler Associates, and The Escape School. His first book, Acting for the Real World: Notes on Television and Motion Picture Acting, will be published soon by FSE Publishing and his screenplays, Succubus Crystal, My Princess, and Faces of Stone, won, respectively, gold, silver, and bronze awards at WorldFest Houston. As an actor, he has appeared as a supporting player in the feature films Brewster McCloud, Zombies of Sugar Hill, Burger Wars, and My Best Friend is a Vampire. His first starring role as “Dusty” in the indie feature Dear Pillow has earned rave reviews in Variety, The Orlando Weekly, Film Threat, Indie Slate Magazine, and Playback St. Louis. He produced and directed Everything or Nothing, an HD feature starring Natasha Melnick in ’04, which was finished in ‘06. It was written by Sue Rock. God Thinks You’re a Loser, an HD feature he wrote and directed, was completed in 2008.

Director Heather Scobie and a large cast of SAG and AFTRA actors presented a blocked for the state, live reading of the script with minimal lighting effects and sound effects. Frankly, I wondered if we’d pull this off as it was no small task. But under Heather’s confident guidance and with the talents of actors from Austin, Houston, Dallas and even Tulsa, OK it really turned out well.

The best part, to me at least, is that the writers, who were in attendance, seemed genuinely happy with the experience. They got to see their script on its feet and hear their characters speak aloud for the very first time. A Win/Win situation. If you’re a Central Texas SAG member and you haven’t joined the Conservatory, please do.

In addition to the Script to Screen series, we are actively programming seminars, classes, etc. to benefit Central Texas SAG and AFTRA members. Some programs and events will also be open to non-SAG actors as space and cost allow.

NEXT UP: Incremental Goal Setting – For Bicyclists and Actors, too

We could use your support in attending our next script to screen this
Sunday. As an experiment this time around, we are using audio and visual
cues:

SAG Script to Screen Team presents Returning Champion Film Script

TV Writers Michele Gendelman and Ursula Ziegler test the film waters

The Austin Script to Screen Team presents a LIVE film script reading
event with Michele Gendelman and Ursula Ziegler’s Returning Champion.

The general public is invited to join actors, writers, producers,
directors, and film aficionados at 4 p.m. Sunday, August 30, at St.
Edwards University Jones Hall, 3001 S. Congress Avenue, Austin, Texas.

Admission is free.

Returning Champion is an off the wall comedy about a college freshman
who is booted out of school and has to move back home to his has-been
game-show host parents. The only way out of answering relentless trivia
questions and guessing which door breakfast is behind is to get his
out-of work parents back on the air.

An ever-growing independent film market has enticed these two TV writing
pros to submit Returning Champion to area investors, directors and
producers.

Michele Gendelman has written for TV shows: Newhart and
Facts of Life and is the author of What the Other Mothers Know
published by HarperCollins and contributor to What Was I Thinking? -
Bad Boyfriend Stories from St. Martin’s Press.

Ursula Ziegler has written and produced TV’s Empty Nest and also written for Head of the
Class, Sister-Sister, and Larroquette. She has developed TV pilots
for CBS, Fox and Castle Rock when not appearing as a contestant on TV
game shows.

Where: Jones Hall in the Ragsdale Center, St. Edwards University

When: Sunday, August 30 – 4 p.m.

How Much: Free

Here is a press release sent to the membership tonight ( 6/9/09):

FOR IMMEDIATE RELEASE

Screen Actors Guild Members Overwhelmingly Ratify TV/Theatrical Agreements

Los Angeles, (June 9, 2009) – Screen Actors Guild announced today that members have voted overwhelmingly to approve its TV/Theatrical contracts by a vote of 78 percent to 22 percent.

The two-year successor agreement covers film and digital television programs, motion pictures and new media productions. The pact becomes effective at 12:01 a.m. June 10, 2009 and expires June 30, 2011.

The contracts provide more than $105 million in wages, increased pension contributions, and other gains and establishes a template for SAG coverage of new media formats.

Approximately 110,000 SAG members received ballots of which 35.26 percent returned them – a return that is above average compared with typical referenda on Screen Actors Guild contracts. Integrity Voting Systems of Everett, WA, provided election services and tonight certified the final vote tally upon completion of the tabulation.

The vote count in the Hollywood Division was 70.70 percent to 29.30 percent in favor. In the New York Division, the vote count was 85.74 percent to 14.26 percent in favor. And in the Regional Branch Division, the vote count was 89.06 percent to 10.94 percent in favor.

Screen Actors Guild President Alan Rosenberg said, “The membership has spoken and has decided to work under the terms of this contract that many of us, who have been involved in these negotiations from the beginning, believe to be devastatingly unsatisfactory. Tomorrow morning I will be contacting the elected leadership of the other talent unions with the hope of beginning a series of pre-negotiation summit meetings in preparation for 2011. I call upon all SAG members to begin to ready themselves for the battle ahead,” Rosenberg added.

Screen Actors Guild Interim National Executive Director David White said, “This decisive vote gets our members back to work with immediate pay raises and puts SAG in a strong position for the future. Preparation for the next round of negotiations begins now. Our members can expect more positive changes in the coming months as we organize new work opportunities, repair and reinvigorate our relationships with our sister unions and industry partners, and continue to improve the Guild’s operations.”

Screen Actors Guild Chief Negotiator John McGuire said, “I want to thank the SAG members and staff who dedicated their time to the negotiations process. We emerged with a solid deal that the members have now voted up. The negotiating team worked tirelessly, building on the work of the first negotiating committee, to deliver these improvements to members.”

Screen Actors Guild began talks with the Alliance of Motion Picture and Television Producers on April 15, 2008. Guild Chief Negotiator John McGuire, Interim National Executive Director David White, and Deputy National Executive Director for Contracts Ray Rodriguez, working with a 10-person negotiating task force comprised of Screen Actors Guild board members and officers representing the three divisions, reached the tentative agreement on April 16, 2009 after 12 months of periodic negotiations with the motion picture studios and television networks.

In what should be a ‘perfect storm’ of events that could, and MUST help stimulate a substantial increase in SAG theatrical contract film production in Texas, ratification of the new SAG / AMPTP agreement was preceded by passage and more importantly, full funding of the requested $62 Million Texas film incentive legislation.

From TXMPA President, Don Stokes:

It is my extreme pleasure to report a very successful legislative session for the moving image industry. TXMPA has played an integral roll in the passage of HB 873 which created our enhanced and flexible incentive program as well as HB 2521 which creates guidelines for preferred vendor status for Texas based companies in producing media-related services for the State and SB 1929 which creates media production development zones which encourages the creation and development of production infrastructure like sound stages.

Of equal importance, our full funding request of $62 million dollars for HB 873 was passed by both the House and Senate. Congratulations to all of you who assisted in these achievements. None of this would have been possible without our industry coming together and speaking with a singular voice. Thanks again to all of you who participated in Lobby Day and spoke as witnesses in the various committee hearings. We also owe thanks to our friends at HillCo Partners who lobbied tirelessly to make sure our message was heard and that legislators understood that we only wanted what benefited both our industry and the State. And finally I want to express our gratitude to the Texas Film Commission for all of work and efforts they put forth on our behalf. Our success was truly a team effort. Take a moment to bask in our successes, but only a moment…

FILM & TELEVISION PROJECTS

* Feature Films
* Documentaries
* Episodic Television Series
* Television Episodes
* Television Movies
* Miniseries
* Reality Television
* Interstitial Television Programming
* Nationally Syndicated Talk Show

Program Overview

* Tiered incentive payments of 5-15% based on level of Texas spending.*
* Option to choose incentive calculation based on total in-state spending or wages paid to Texas residents.*
* Possible bonus of 2.5% if 25% of production completed in underutilized area.
* Texas spending can include eligible pre-production, production and post-production expenditures.
* No cap on incentive amount.

Minimum Qualifications

* $250,000 in Texas spending.
* 60% of shooting days completed in Texas.
* 70% of paid crew must be Texas residents.
* 70% of paid cast (including extras) must be Texas residents.*

* except reality television and talk shows.

Below is the latest list of possible SAG signatory productions for south region states, Louisiana and Texas. This list is assumed to be the last such list to be published before the new Texas film tax incentive program has a chance to impact production in Texas and possibly in states such as Louisiana and New Mexico.

Louisiana

“Dead Whisper” - #00231285
Dead Whisper Productions – Theatrical
Location: New Orleans, LA; Big Bear, CA
Start Date: To be determined

“Hurting Kind, The” - #00244310
TNC Shreveport, LLC – Low Budget Modified
Location: Shreveport, LA
Start Date: July 26, 2009

“Jaws of the Mississippi” - #00225090
Jaws Productions, LLC – Low Budget Modified
Location: Lafayette, LA
Start Date: July 6, 2009

“Untitled Alphi Phi Alpha Doc” - #00241154
Omnipotent One, Inc – Theatrical
Location: New Orleans, LA
Start Date: July 9, 2009

Texas

“Beyond the Whispers” – #00244882
Broken Camera Productions – Ultra Low Budget
Location: Boerne, TX
Start Date: To be determined

“Broken Promise, A South Texas Story” – #00210652
Que Tal Productions, LLC – Ultra Low Budget
Location: Brownsville/Mercedes, TX
Start Date: To be determined

“Carried Away” - #00238361
Carried Away, LLC – Ultra Low Budget
Location: Fort Worth, TX
Start Date: To be determined
Casting: James Johnston 817-915-4565

“Imago” - #00244751
Upstart Filmworks, LLC – Ultra Low Budget
Location: Houston, TX
Start Date: August 1, 2009

“Iron Horses” - #00237421
Curveball Films, LLC – Low Budget
Location: Austin, TX
Start Date: August 1, 2009

“Last Thanksgiving, The” – #00243410

TLT Productions – Ultra Low Budget
Location: Donna, TX
Start Date: To be determined
Casting: Pedro Garcia

“Letter H, The” – #00233247
GCP Film, LLC – Theatrical
Location: Houston/El Paso, TX
Start Date: September 3, 2009

“Matter of Honor, A: The Assassination of Sam Giancana”Distraught Sound and
Film Works in Association with Tommy Fadd and Good Boy Films
Location: Austin, TX
Start Date: To be determined

“Maybe, Maybe No” – #00239585
Red Raider Films, LLC – Ultra Low Budget
Start Date: 6/12/09 – Wrap Date: 7/26/09
Location: Wylie, TX
Casting: Ryan Paige 310-424-5256

“Mongolian Death Worm” – #00244759
Sweet Tater, LLC – Low Budget
Location: Dallas, TX
Start Date: June 22, 2009

“Red, White and Blue” - #00244689
RWB Films, LLC – Ultra Low Budget
Location: Austin, TX
Start Date: June 14, 2009
Casting: Karen Halford of Casting Works L.A.

“Secret Dark, A” – 00241474
30 Days, LLC – Low Budget
Location: Houston, TX
Start Date: June 15, 2009

“One Moon in Luck aka Shoot Out of Luck” – #00244805
Liz Destro – Theatrical
Location: Austin, TX
Start Date: October 1, 2009

“Untitled Ana Zims Romantic Comedy” – #00244038
Ana Zims – Ultra Low Budget
Location: Texas (unspecified), CA
Start Date: June 14, 2009

“Walk Away Joe” - #00242161
WAJ Productions, LLC – Theatrical
Location: Dallas, TX; Los Angeles, CA
Start Date: To be determined

“Where’s the Dan? The Search for Dan Schneider” – #00242803
Cosby Siringi – Ultra Low Budget
Location: Huntsville/Conroe, TX
Start Date: To be determined

The first ‘reel’ is my final edit…maybe… and one that I’m happy enough with to distribute to casting sites. I’ve always tried to keep demos to 5 minutes or so, knowing that few pepole will sit through more, if that much tape on a actor’s reel. This online version is a trim 1:43.

So, while I’d like to let scenes play longer, I’m trying to reach a ‘happy medium’ of showing enough to get the character played before having to move on to the next clip, and keeping the total reel to a manageable file size. I’ve had to leave off some clips I’d like to use for various reasons….they’re good material, but just way too old, or I couldn’t find a way to put them into the mix and still keep the time and quality combination at an acceptable level for internet distribution

The issue I faced, that everyone faces when trying to put decent looking material on the net is the issue of what settings to use for conversion and rendering of the footage so that you have the best results once YouTube gets through processing your clips. This is where YouTube itself is a big help.

A search on YouTube will result in quite a few video tutorials on how to optimize your video for YouTube. Frankly I haven’t been much of a YouTube user and I’m not up to speed with all the nuances of how to use the service. But I’m learning. If you’re like me and want to take a shot at editing and publishing your own demo, it’s definitely something that can be accomplished. But even if you take your footage to a professional editor, the best choice for most of us, you can use this information to make sure that the person who cuts your demo will give you at least a version of your reel that will play nicely on the net.

Here are the rendering settings I used in Sony Vegas 9 Platinum Pro Pack to get the results above…results with which I, at least, am happy:

File Type: MP4 – Some tutorials suggest saving as WMV, others as MP4. I had the best look with MP4. If you use WMV, try the WMv 9 setting in your software
Frame Size: 1280 x 720
Frame Rate: 29.970(NTSC) – same frame rate the source material was captured in
Field Order: None (Progressive scan)
Pixel Aspec Ratio: 1.0000
Bit Rate (bps): 10,000,000 -This may be adjustable in your software – I used as high a setting as possible and still keep the final rendered file under YouTube’s 1 gig file size limit.
Audio Sample Rate (Hz): 44,100
Audio bit rate (bps): 128,000

Below is a slightly different edit of basically the same material except for a clip from Dancer,TX Pop. 81 which is not in this version:

In case anyone is interested I’m using Vegas Video 9 Platinum Pro edition to edit. Each scene is a DVD rip using DVD Decrypter, DVD Shrink and MovAvi Converter in that order. I’m converting the rips to uncompressed .avi files, bringing those files into Vegas Video for the edit. I’m now playing with various rendering schemes in order to get the best quality for YouTube and other online distribution outlets. When I get that done to my satisfaction, I’ll cut a somewhat longer version for DVD distribution to my agent, etc.

The news that the Texas Film Commission has turned down the WACO production for the incentive program has been brewing for several days and has now made its way from the American Statesman’s film blogs to the front page of the paper. The jist of the story is that Bob Hudgins, the director of the Texas Film Commission, and the party charged with the ability to say ‘yes’ or ‘no’ to a production company seeking film incentive participation, has decided that the WACO production does not comply with the ‘content provision’ in the incentive legislation. What? Exactly what is a ‘content provision’ and why is it in this legislation?

The content provision was apparently added to the legislation by Senate Finance Committee Chairman, Steve Ogden and, per the Statesman article states that ‘filmmakers taking incentives cannot show Texas or Texans in a negative fashion.” Well that’s just dandy isn’t it because we all know that everything it perfect in Texas and nothing bad ever happens here. If this sounds like the legislation has set Bob Hudgins up to be a film censor, well, unfortunatley that just may be the unintended (to be generous) consequence.

During the TXMPA legislative action this year I asked a collegue if that provision couldn’t be removed as it smacked of censorship and was sure to keep away many worthy and possibly lucrative productions. I got a quick NO. I was told that this legislation would never pass without the ‘content provision’ because Ogden was too powerful and he insisted that the provision stay in the legislation.

It hasn’t taken long for this thorn in the incentive package to prick Bob Hudgins in the backside. Now instead of doing what he needs to be doing in promiting Texas as a friendly place to come shoot movies and television shows, he’s having to spend time defending his decision not to give incentives to WACO. Hudgins has been quoted as saying this is not censorship….just compliance with the law. Well…yes and no.

Hudgins is a good guy and I’m certain he would rather not be fighting this battle, particularly in the press. He’s stuck by Senator Ogden’s apparent need to protect Texas from being seen as imperfect in some unknown manner. He insists this is not censorship because the company is free to come and shoot in Texas…just not with the incentive package they would otherwise receive. So, technically he is right. But effectively, the result is the same.

This incident sends a message to all filmmakers that they must structure their screenplays, self-censoring if you will, so that the state of Texas will not take offense or they will not be eligible to receive tax incentives…the very incentives that are designed to bring film produciton BACK TO TEXAS.

We just can’t seem to keep from shoot ourselves in the foot can we? Just as soon as we get a program that is very competitive with Louisiana and New Mexico, we find that we have provided them with a big load of ammunition to use against us: “come to Louisiana where we don’t tell filmmakers what they can and cannot say”…

The whole mess has blown up into something of a publicity bonanza for the makers of WACO who, let’s face it, don’t care where they shoot their movie as long as they go where they can get the best deal for their money. Can’t blame them for that.

Maybe this mess will blow over and not be as big a deal as it seems right now. But the question is: What exactly is it that shows Texas or Texans in a bad light? Can we have no crime dramas? Movies with a bad guy who is a Texan? Historical films that one person or another could decide portrays Texas in a ‘bad light’? What exactly are the criteria for those determinations?

Let’s see…FRIDAY NIGHT LIGHTS, shot in Austin and just nenewed for 26 more episodes contains many scenes of teenage drinking, teenage sexual situations and other content that could fall outside the acceptable parameters of this law. Is Hudgins now going to deny FNL incentive money to remain in Austin? Say it ain’t so. If he gives money to FNL will Senator Ogden be calling for his job? Say it ain’t so.

And how many film companies are going to say…”screw it, let’s just shoot in New Mexico” and we won’t have to sweat this stuff in the first place?

Time will tell…In the meantime, give some love to Bob Hudgins. He’s going to need it.

My name is Jamie Blankenship. I am working on a community filmmaking project called the Two-week Turnaround Tour, or T3. Thousands of aspiring and professional filmmakers will come together in 14 US cities over 7 months to write, shoot, and screen a short film in the span of two weeks in each city.

We’re coming to Austin next and would love it if you could help us spread the word. All levels of experience are welcome. We believe everyone has something to offer the collaborative art of filmmaking! Austin will be our 4th city! We will be kicking off T3 Austin May 15th. For more information, you can visit our site at http://filmblazer.com/t3 and feel free to contact me anytime at  Jamie at filmblazer.com

Sincerely,

Jamie Blankenship

Here’s some info I copied from the really cool T3 site. This is just a tease…there’s lot’s more to see on the T3 site, so please check it out. Looks like fun to me.

What is the Two-week Turnaround tour?
The Two-week turnaround tour or T3 is a community filmmaking project. Filmblazer will visit 14 cites over 7 months. We will write, shoot, and screen a short film in each city in just two-weeks.

How does it all work?
Josh and Jamie get in an RV with all their Film equipment. We show up to a city and are greeted by our City Leader. We then have a kick off event, bringing together everyone who wants to help with the film. We work together to write a sweet film, shoot it, edit it, export it. We take a nap. We premiere the film, broadcasting live. We get in RV and drive to the next city. Repeat 14 time.
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What is a City Leader?
The city leader is the local liaison for each city and will be our go-to person throughout production. The city leader needs to be a motivated, organized, film enthusiast that will help us build the city teams, scout locations, plan the premiere event, and basically be responsible for making sure Josh and Jamie get to keep their sanity. If you are interested in being a city leader please contact us!
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What can I do to help make a short film?
This is a wide open question. Do you have access to a coffee shop? Do you have a ton of junk aka props? Can you make costumes? Are you really good with makeup? Do you like feeding people? We want everyone to bring something to the film because everyone has something to offer. Join a city and tell us what you can do. Plus we welcome people that can write, edit, act, light, you know normal film stuff