Full Sail University: Hall of Fame 8

This past week I had the immense pleasure of participating as a panelist at Full Sail University's eighth Hall of Fame. This annual, week-long event consists of industry panels, job fairs, screenings, and an induction ceremony where six graduates who are doing tremendous work in their respective fields get inducted.

Picture by International Student Eduardo Notcull

I participated in five panels, three of which were recorded and you can watch below. It was so humbling to share the table with greats such as Sound Designer David Farmer (The Lord of the Rings and The Hobbit trilogy) or Co-Executive Producer Troy DeVolld (Hollywood Game Night, Dancing With the Stars). I'm thankful to the students who showed up to the panels I was a part of and asked great questions, which taught me new perspectives and reinforced my knowledge in what I do.

Documentary & Activist Filmmaking panel

For me, this event was a retreat. Despite the lack of sleep and my lost voice, it has recharged my batteries and inspired me to go back to Los Angeles and work even harder and more passionately.

With HOF inductees Ashish Manshada, Jack Geckler, and David Farmer

I want to thank every "Hall of Famer," fellow graduate, student, and the faculty & staff for making me feel at home and motivating me so much. Listening to your stories and experiences, and spending time with you have affected my personal and professional life significantly. From DJ Swivel's Grammy for Closer to Steven C. Miller's new movie deal to direct Escape Plan 2 with Arnold Schwarzenegger and Sylvester Stallone. I am so grateful for this new group of people I now get to call family. I'm looking forward to seeing you succeed this year and I can't wait for Hall of Fame 9.

My Experience Working on La Voz Kids

            Hello everyone, I hope you all have a great week! I’m taking this time to share with you my experience working on La Voz Kids. Even though the second season of this Spanish/Kid version of The Voice started a few weeks ago, I waited until today to write about it because I worked on the “Battles” portion of the show, which concluded last night. The show, which airs on Telemundo Sunday nights, had three episodes (April 27, May 4, and May 11) of “las batallas” where 18 out 54 kids made it through to the live portion of the show which starts next week.

            I worked as an assistant on the contestant management department, so I dealt directly with the kids and their families. Throughout the week before rehearsals and the tapings began, I made sure they were on time for their meals, their tutoring hours, voice or dance practice, etc. Once rehearsals for the tapings began, I was in the soundstage coordinating they’re arrival to the holding area before it was their turn to go up and perform. At the same time, I also managed to assist the audio department micing lavs on contestants and two family members. Once the actual tapings began, it was pretty much the same drill, except it got crazier but more exciting, since it’s shot as if it was live. The kids were divided in groups of three, totaling eighteen groups. Only one kid per group made it through, so it got pretty intense. It was pretty much “Hunger Games,” as I like calling it.

            I must say this has been one of the best, if not the best, work experience so far. One of my dreams came true, which was to work on a singing competition show. I got to be back in Orlando for almost two weeks, which meant I had the opportunity to catch up and work with friends and colleagues, I swinged by my favorite local spots, and I visited my alma mater and spoke to students about life after college and LA. I got to work on a new department and I learned a lot from both the people above me and even the contestants. It was also nice seeing these three episodes on TV after going through that process with my colleagues, the contestants and their families. I wish the best of luck to everyone on the live portion of the show.

Industry Liabilities: Blogpost for Entertainment Law Class

            The three cases I chose involve film crewmembers who are either suing the producers or production companies of the respective films they worked on. I’m currently taking an entertainment law class, which is why this blogpost has taken a bit of a twist compared to the ones I usually write. The assignment required me to identify three court cases in my industry and analyze the legal liabilities.

            The first case involves Cheryl Pickenback, a hairstylist on Zack Snyder’s reboot of Superman titled Man of Steel. She says that Warner Bros., Legendary Pictures, and Third Act Pictures failed to make sure the location was safe. The plaintiff is suing because she tripped on what seemed to be “a fractured or uneven walking surface” when instructed to fix one of the actor’s hair in between takes. As a result, she suffered “severe and permanent injuries” that led her to begin “extensive medical and surgical consultations and treatments.” The lawsuit was filed on Illinois, which is where shooting took place, and has been taken to federal court.

In my opinion, the location manager, who claims he didn’t have a role on the Illinois location, and the art director should have considered additional safety measures for cast and crew whenever they were near that area; however, it only happened to the hairstylist and she should have watched her step.

            The second case has been a hot topic. A lawsuit filed on behalf of around 250 employees of the Los Angeles-based visual effects company Rhythm and Hues. The company is best known for doing effects for the 4-Academy Award winning film Life of Pi (Achievement in visual effects being one of the Oscars it received), but also for filing for Chapter 11 bankruptcy protection. The plaintiffs are suing because these mass layoffs happened without proper notice, violating federal law and California Labor Code. They are seeking unpaid wages, salaries, commissions, bonuses, accrued vacation and holiday pay, pension, and 401(k) contributions.

The company definitely failed in giving its employees a sixty day written notice, and even though they have filed for bankruptcy, it should give its employees the payments and benefits it owes them.

            The last lawsuit I chose came to light a year and a half ago when a couple of interns from the production of Black Swan decided to sue Fox Searchlight, saying they were exploited. This expanded to every internship program under Fox Entertainment. The issue here is that Fox didn’t directly hire them; however, they were aware of their involvement in the production since they had to approve, they received call sheets, and received credits.

In my opinion, the entire situation is just a miscommunication on behalf of the interns and Fox. The interns, even though they claim the internship didn’t fulfill their work interest and that they didn’t receive proper training, should have known better. Internships are entry-level positions that’ll require you to do multiple tasks, possibly in different departments. They also expected to get paid, since Fox could have hired a crewmember to do the work. On the other hand, Fox should be more clear and careful on what it expects from interns so that there are no miscommunications in the future. Oral arguments will be taking place in May.

Tips From a Production Coordinator's Daily Life

            

            Growing up watching films made me idolize actors and directors for the vision, emotion, and storytelling they would bring to life. As I started my career in film school, my appreciation for other crafts in different departments of the industry broadened. I realized that film is a collaborative effort where all the pieces must fit in order to finish the jigsaw puzzle.

            

            As my school program went on, I became attracted to the production department; I was UPM (Unit Production Manager) for our very first short film for a digital cinematography class. What caught my attention was the ability to be aware of everything that happens in each department. I considered myself to be good with people and at being organized, so it seemed like an appropriate fit.

My interests in this department, which I consider to be underrated, started to grow. I was like a kid at a toy store; there were many people to look up, books to read, interviews to watch, and stories to hear. I began researching production managers and production coordinators and learning more about their jobs.

            

            I was lucky enough to meet Steve Cainas a little over a year ago. He’s a production coordinator who’s a graduate from my alma mater and happened to work on my all-time favorite television show, Lost. I am grateful he took some of his busy time off to answer some questions regarding a day in the life of a production coordinator.

            How important is deal making and negotiation on your job, and how does it change depending on the project? Are there any advantages and challenges by being in your position? 

Huge part of my job and an important skill set.  No matter what size production we always have a budget that must be adhere to.  Everything is negotiable.  Obviously working on an independent film with a limited budget creates much more deal making on the daily basis.  The advantage is to establish long lasting relationships with vendors so that you can call upon them to help resolve a situation efficiently and cost effective. 

            When negotiating with other people, how do you separate the person from the problem? Has there been a time when you had difficulty controlling your emotions in order to get something?

Not at all.  It's always important to keep a business relationship when negotiating with people.  I keep my personal life private from my professional life.  You have to be strong, aggressive, and confident to succeed at this job.  Shy and quiet regretfully does not work in a position when you have to manage people and resolve chaos on a daily basis. 

            What strategies do you use when negotiating with others. How do you get to your objective criteria and what are some tips or suggestions you may have for someone who is in a similar situation?

I always have the other person see the WHOLE picture, not just a slice of it.  For example, I might ask to reduce a grip package to $5,000 that originally was quoted at $9,000.  Seems substantial, but I make sure to point out that it's not a 2 week rental, but rather a 26 week rental that will result in $130,000 of revenue!  My current project is an HBO series that is filming the first season.  I make a point to share that the show might, very well, be in production for several years and that I would like to maintain a working relationship with this person or vendor that potentially will last for a while.  That always opens their eyes.

            Could you share a moment when you had a hard time coming to an agreement or getting what you needed for a project, but ended up being successful? How did it impact the project, and what would have happened if you hadn't been able to obtain what you were looking for?

As a Production Coordinator, you are constantly solving problems.  Recently I needed to make a deal with a vendor from California to provide power generators. My budget was $50,000 for something that truthfully should cost $100,000.   I had to find several other competitors that were interested in the business to bid the project, thus creating a "bidding war" that at the end resulted in getting the equipment that I needed for substantially less and meeting my budget.

            Something new that I learned is how important it is to find many competitors when you want to obtain something; at the end of the day, you want to get the best deal. It’s about letting one party know that its competitor has a sweet deal in order to find a better one from them. Another crucial thing that I am working on is my aggressiveness and confidence. I’ve learned from working as a personal assistant that there is always a way to get what you want as long as you’re firm and negotiate effectively. There is no reason for anyone to intimidate you.

            

            I’m glad I’ve already started to set my foot on the door and that I’m slowly learning from my mistakes. It’s interviews such as this one that remind you to open your eyes a bit more. This is the first of many more that I am planning on writing once or twice per month. Hopefully you gained some knowledge from this blog post by someone with twenty years of experience in the industry.

The Oscar Experience College Search

            It was announced a couple of months ago during an “Overview of Contemporary Film” course at UCLA that the Academy Awards would be spicing up the ceremony a bit.

           

            Seth MacFarlane (Family Guy, Ted), this year’s host for the Oscars, introduced to the class of students the “Oscar Experience College Search.”

The search is open to college students who are aspiring to work in the industry, whether it is directing, producing, acting, or being a part of any department. The producers will pick a minimum of six students who are the next generation of Oscar hopefuls to be a part of the live ceremony which will air on February 24^th.

            “For a film student to go to the Oscars and be a part of presenting is a huge break,” says MacFarlane.

            Students have until January 19^th (today) to upload a short video to the Facebook page saying how they will contribute to the future of the industry. Besides that, there are a couple of questions during the submission process that ask which Oscar category is your favorite, and which movies inspired you to become a filmmaker.

            I thought it would be worth a try and a good opportunity to do something fun and different. As a result, I called two buddies of mine to help me out with camera and audio. I edited my entry and talk about how I want to be a part of high quality, thought provoking films such as the ones of my idol, Alejandro González Iñárritu.

            Please take a look at my entry and don’t forget today’s the last day to vote. You may do so by giving it a “thumb up.” Thank you.

Roundtables

            This blog post is an assignment for the “Negotiation and Deal Making” course that I’m currently taking at Full Sail University. We had to watch three videos that discuss negotiation techniques.

            My first discussion comes from The Hollywood Reporter Oscar Roundtable hosted by Matthew Belloni. I found it on a blog by IndieWire. The hour-long interview is titled The Producers: Full Uncensored Interview, and it features six producers whose films have gone on to receive multiple nominations and awards this season, including the Academy Awards, Golden Globes, PGA Awards, to name a few. Among the interviewees are Phillipa Boyens (The Hobbit: An Unexpected Journey), Stacey Sher (Django Unchained), Joanne Sellars (The Master), Grant Heslov (Argo), and Eric Fellner (Anna Karenina, Les Miserables).

Producers are problem solvers. In the case of Fellner, one of his main goals include analyzing formulas that determine if producing a film on a predetermined budget makes sense. On the other hand, producers such as Sher, want to make sure they are able to make the director’s vision happen.

When it comes to negotiation techniques, Sher and the Django team had to handle a dirty trick by “Mother Nature” in a creative way. The cast and crew were scheduled to shoot a scene at a ski resort in Mammoth, California. To everyone’s surprise, no snow was falling for the first time in a hundred years, and that was an essential element to the scene. A few days later, the producers decided it would be more efficient to move the set to a different state. This is an example of Murphy’s Law at its best.

Another example of a hardship that Heslov talks about is when somebody says “no” or falls back. Having to start all over again when you depended on someone can be pretty frustrating.

            The second video is presented by the Los Angeles Times in association with Epix, and is hosted by John Horne. It is a Directors Roundtable that includes Tom Hooper (Les Miserables), Sacha Gervasi (Hitchcock), Ben Affleck (Argo), Kathryn Bigelow (Zero Dark Thirty), David O. Russell (Silver Linings Playbook), and Ang Lee (Life of Pi).

The interview covered many different topics, but I picked two that caught my attention. In the first one, Bigelow talks about the challenge of capturing a moment of time that would test time. Shooting began only a year after Bin Laden’s assassination, so realizing that it was very recent and contemporary, as well as prepping for two continents, required a lot of confidence on her behalf. When shooting began for Les Mis, Hooper wanted to shoot a scene with Hugh Jackman in the French Alps. His line producers told him it was too expensive, but that he should go look at Scotland or Wales. Convinced that there’s nothing like France, Hooper came to a negotiation with the production team. They skipped three days of rehearsal and put the Jackman and the crew on a commercial flight. They shot that for thirty grand.

            Last but not least, I remembered a video I saw about three months ago on YouTube that interviews screenwriters and directors Lana Wachowski, Andy Wachowski, and Tom Tykwer of the underrated film Cloud Atlas, which also happens to be my favorite film of 2012. The interview is done by the DP/30 Channel

They pretty much broke the “rules of cinema” and talk about some of the things they made in a non-traditional way to make it happen. For example, they composed the music first and played it during the table reads with the actors. They talk about the challenge of telling a tale with six stories and how it would require for the audience to engage in the storytelling process. “There’s this trend in the industry where audiences go to the movies to turn off, and we don’t want to turn off when we go to the movies. We don’t want a passive movie-going experience. We want to be stimulated. We want to participate. We are trying to take a stand in terms of trying to tell an adult big film and something you’ve never seen before,” says Andy Wachowski.

An example where the director had to trust a key player in the crew happened when the casting agent demanded them to send Hugh Grant the script. At first, they never believed he’d be able to play the characters in the film, but it took a try and listening the to casting director to find out that indeed, he was meant for the part, or parts, since the main cast plays more than three characters. Another thing that required extreme communication skills was that they shot separately with two crews. They had two keys for each department.

            These interviews definitely opened my mind a bit more to the challenges that present themselves when making a film. However, they also reminded me that passion is key to being successful. Sher mentioned how she was finally able to start a project that had been in the talks for twelve years. So patience and finding the right time for a project is important. 

The Journey of "Vicissitude"

           Vicissitude is an independent documentary that takes the viewer on a journey with several people who have been innocent victims of the drug-related violence in Ciudad Juarez, Mexico Whether they were carjacked, had to shut down a business, or had a relative killed, the feature-length movie pays homage to the thousands of people who have lost their lives since 2008 by portraying a more personal side to the story.

           The purpose of the documentary is to show what people never really got to see on the news, and to give a voice to those who had to go through this experience of radical change. It also shows a progress, which is slow but certain, and the hopes that the city and its people have to once again be free of war.

           It is a project close to my heart since I’ve personally been a victim in one way or another and I lived in Ciudad Juarez for 16 years. The idea came to mind a couple of months after starting film school back in the summer of 2010. I had to write a short story for one of my classes and I thought, “Why not do something based on a case from the situation in Juarez?”

           As the months passed by, I put the script aside but the thought of doing a story about the violence would bother me every night. I knew I had to tell it some way. 

           In the summer of 2011, my best friend told me while having a conversation that she would love to visit Juarez. We had a break for Memorial Day coming up, so we planned a little trip to my hometown. An idea struck me that same night. I realized this could be the perfect opportunity to shoot a documentary. I had just taken two documentary classes, and the instructor, who is an Emmy award winner, had been a true inspiration. After giving it careful thought, I asked her if she wouldn’t mind to change our trip into a business trip. She was all for it.

           I did pre-production for approximately two months. This process consisted of crewing up, contacting potential interviewees, setting up a Kickstarter account to raise funds for the project, getting a hold of equipment, and many other things. I successfully raised a little over a thousand dollars, which I used to pay part of the plane tickets of the three people who came with me plus some other miscellaneous expenses.

           We shot the documentary during the four-day trip and it was nothing but a great learning experience as an aspiring filmmaker and as a person. Our biggest challenges had to do with time, but we managed to get things done.

           We came back with about 150 hours of footage from interviews, and that’s not counting B-Roll. The editing process was probably the most difficult but most rewarding. Having to balance school, work, and extracurricular activities, made it difficult for my first editor and me to get together. Luckily, I was blessed to bump into Mauricio Martinez one day at school, the guy who ended up becoming my editor and who is now a close friend. I happened to be wearing a soccer jersey from Mexico and he asked me where I was from. We had a short conversation before I needed to head back to class from break but we exchanged our contact information. We then took it online. It was here when I realized he speaks Spanish, is familiar with the subject, and one of his fortes is editing. As a result, he ended up editing the project and receiving a producer credit due to his contribution to the structure of the story and for recommending me an amazing recording arts student to compose the soundtrack.

           We finally finished the lengthy process on November 21^st, a day before Thanksgiving. I am aware that this is only the beginning, since now I have to figure out ways to get people to watch it, submit it to different film festivals, and screen it wherever I can. My top priority right now is the Florida Film Festival, we have a deadline coming up soon.

           This experience has taught me managing skills more than anything, and it has broaden my network. I hope something good will come out of this story and I can’t thank enough the people who contributed to this project by either working on it, investing, participating, or sending the good vibes.

J.J. Abrams’ Mystery Box

           

             “Why do I do any of what I do?” Asks Abrams to himself as he humorously kicks off his Ted Speech back in 2007. He says people are usually surprised at the mystery of his projects, including the whole purpose of the island of Lost, which happens to be my all-time favorite TV show. He credits his grandfather for inculcating imagination and creativity in him. 

As the speech goes on, he pulls out a box with a big question mark on it. He bought it decades ago at a magic store with his grandpa and hasn’t opened it; he wants to keep it as homage to him. “It represents infinite possibility, it represents hope, it represents potential,” he says after jokingly asking if he’s allowed to cry at Ted.

            I like his description of mystery, and how it can lead to imagination and infinite possibilities. This part of the speech makes me want to start creating something, whether it is a song, coming up with an idea for a short movie, or trying out a new workout exercise. It also takes me back to Lost and thinking of all the mystery involved in the show; it finally starts to make sense.

            I also find very interesting his talk about analyzing and thinking about the importance of investment in character and the meaning of stories when it comes to films. “E.T. is about divorce, a crooked family, and kid trying to find his way. Jaws is really about a guy who is sort of dealing with his place in the world, with his masculinity, with his family, how he's going to make it work in this new town..." His ability to dig to the root of stories is admirable and reminds one to think deeper when it comes to character and story development.

            “The creation of media is everywhere. I use to say in classes and lectures… Go write, do your thing, you don’t need permission to write; but now I can say, go make your movie. There’s nothing stopping you... No community is best served when only the elite have control." As a fanatic of objects and machines, he encourages aspiring filmmakers like myself to get out there and shoot. Indeed, there is nothing stopping us from getting out there and doing something. This quote will stick with me for a long time because it's true. It's amazing to think where technology will keep going to in the next decade and so.

            This man is a truly inspiring figure in the industry because of his hunger to ask questions, create, and yet leave something mysterious behind. Before this speech, I wasn’t that big of a fan of his, but now it makes me want to look at all of the work he has made and re-visit Lost. For six straight Christmases, this would be a gift from my mom. Each year we would sit down and watch that year's respective season with my cousins. Watching the last episode was a bit melancholic.

A Different Kind of Competition Reality TV Show

A Different Kind of Competition Reality TV Show

            In a day and age when most competition reality TV shows are a plethora of singing races to find the newest “pop star,” I was ecstatic to learn about a new and fresh project, with not so new and fresh people, but anyway, that’s not the point.

            I read a few weeks ago while scrolling down the “news” section on the IMDb website that talent scout Simon Cowell and producer/recording artist Will.I.am will be collaborating on a new show. Instead of looking for aspiring singers, they will be seeking entrepreneurs and talented individuals with new technology ideas.

            “Singing and performance create a couple of jobs, but this will create lots. It’s about getting in touch with youth and giving them a platform to express themselves, whether that’s in science or mathematics,” said Will.I.am at a tech conference in London.

           

            From a producer (and even a viewer) stand point of view, it’s great that an effort is being made not just to create a new type of competition show, but to bring awareness in math and science to this country. It may not be a coincidence that this is taking place during a deciding time when the world has yet to see if President Barack Obama will be reelected.

            “We’re starting to see gains in math and science in some of the schools that are the toughest for kids,” said the President during the second Presidential debate two days ago. To narrow it down, the point I’m trying to make is that there is a possibility that pop culture is slowly starting to shift more towards a political and “down-to-earth” perspective. I mean, there are two other shows with similar concepts. There is Shark Tank which airs on ABC and an upcoming show starring Mark Zuckerberg's sister which will air on Bravo. 

            Many question if Will.I.am is adequate for this type of show, and I say yes. According to article written by Emi Kolawole for The Washington Post, The first song to ever be broadcast from Mars was composed by him, and has worked closely with Segway inventor and For Inspiration and Recognition of Science and Technology (FIRST) founder Dean Kamen. He collaborated last year with Kamen to air the FIRST Robotics Competition on ABC.

            Titled X Factor for Tech, the new show may contribute to the growth of job creations if it is done right and meets its purpose. The big question is if viewers may be interested in watching unknown scientists, mathematicians, and engineers every week.