© 2012 Timmy Tamisiea. All rights reserved. A metaphor for the music industry.

149/365 – On The Rails

Sometimes, you just need one word, one call to put you back into a positive disposition.  Not that I was in a negative disposition.  Things have been looking up.  Especially in regards to my thesis film – editing is back on track.  Titles, color and motion graphics elemenst are bneing discussed – the film is on track, y’all!

Famous last words.

Then I get some news today that made all the hard work feel well worth while.  One of the hardest things in filmmaking is rights.  How to get them, keep them and pay for them.  When I made my short film, Belittle, my post production supervisor and I tried so hard to get the rights to two Fleet Foxes songs.  We really wanted to use them to bookend the film.  Alas, that band wanted nothing to do with us – hell, they wantd nothing to do with their record label rep.  We’d keep calling her in Seattle and she’d keep forgetting what we were calling for.  Then we’d have to send her the past 6 months of e-mail correspondence to jog her memory — only to hear a month after that we “should provably go to plan B.  The band isn’t returning her calls.”

She was from Seattle. What do you expect from those liberal hippies.

So, now, like a masochist moron, I’m trying to get the rights to 3 popular songs; one Beck song and two LCD Soundsystem songs.  My attitude about this train wreck in the making is part gumption, part persistence and part pessimism.  I want this music.  I have a grant to get the music.  I have a great music supervidor.  I won’t take no for an anser — but know I just might have to.

A metaphor for the music industry. Always trying to hide in the woods . . . or derailment - whatever.

Then I got a text form Jordan, my music supervisor, saying “check your e-mail.”  Jordan forwarded an e-mail from the the woman who holds the sync rights to all three songs saying:

Jordan,

I am handling this request. I still need the links so my client may view the scenes. Please follow up directly with me.

This is huge.  Like mega huge.  Like bottom of the 8th, 3 outs and you load the bases and you have a designated hitter up next  — you haven’t won yet, but things just got interesting . . . And you know if I’m making sports analogies that I’m feeling pretty weird.   Not only has the publishing company  gotten back to us directly, but their clients are in contact with them.  This is good news and has made my day.  Just so you know what these songs are (I can’t show you the footage from my film):

 Yeah Yeah Yeah

Us v Them

Lost Cause

 

Great music, right?  Well, pray to your gods, or god or Tom Cruse that this happens – I feel like we’re on the right track.  But then again . . .

Please don't be an omen.

 

 

I’ll end this post with some more nuggets of wisdom from today’s Semester in LA speakers:

“How many producers does it take to change a light bulb? . . . Does t have to be a lightbulb?”

“How many screenwriters does it take to change a light bulb? . . . Don’t change anything!  It’s perfect!”

This producer had to tell Michael Kane that his production was over because his investors invested the films’ money in another film.  How awful is that?

“Treat your ideas like a commodity – a widget.”

To get backing, “Know your material.  Know your logline.  Give it to them quick and short.  Believe in it.”

This producer chose a path much like mine – he was an actor before he got into producing.  Bieng an actor taught him “Empathy., to Understand the process, and to cut through the bullshit.”

When it comes to success, “The beauty in this town is you only need one.”

 

Rob Green

This man has dabbled in every thing imaginable – print, film, internet, TV, Video, commercials.  His nuggets were:

It’s not good for a proucer to live the ceative lifestyle.  Not to mean they should not be creative, but that their lifestyle itself has a different oace than a pure cretive like a screenwriter or actor.

“The whole cit is one big catasrophy”  I won’t say whch city, but I’m sure you can guess.

“Perfect is the enemy of good enough.”

About moving a shoot to Mexico – “You’re a big machine of shiney toys and equipment and you’re pulling into the middle of a drug war?”

Networking: “Be a mercenary about meeting people.”

“Film writing is a better way to get noticed.”  Which is different than what most speakers have said.

FOR WRITERS:

– Who are your core group of people you are going to share your work with?

– Write notes all the time.

– Read other people’s scripts.

– At least three readers – if all 3 have the same notes, it might be a sign to make the changes.

And my favorite:

YOU ARE YOUR OWN NARRATIVE.

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