January 28 Guest speaker. Danny Tedesco
When he was 17 his first job was a teenager in a Pizza Hut commercial. "More mushrooms and pepperoni please".
Crew member on numerous films.
Eating Rahul - Denny was on set as a crew member. Then worked for iMax films going around the world filming volcanos and sharks. Phil met him in Alaska staying at the same hotel. Phil asked him is he had some camera crew. 25 years ago Denny has kept phil's business card.
He went to school at mountain wanting to write film scripts. Wrote a couple films before and after college. He was not writing everyday. What ever you do you must do it everyday. He would volunteer for everyone's films. Art director of AFI started talking to him. Hired as set decorator. He lied in the interview. Worked in art department for 5 years. Went into lighting after that. Early 80 Rock n roll videos. Worked with Ramones, And billy idol. can now light his own scene. Her is the perfect place to work with etch other. His dad was a studio musician (beach boys) then moved on to film score. He always wanted to tel the story of his father and all the famous musicians that he knew. Did well at film festivals. But no one wanted to pick him up because of the music licenses.
the wrecking crew Documentary.
In this situation all he had planed was the round table. He had to go quickly to make sure he could get his interviews before musicians died. Spent to much money and had to finish it. Had to start talking to people about licensing for music in the film. In 2010 he could not get any stock. Crowd funding, screening and find Ways of being sponsored. he started raising money. Person donating was getting a tax write off - he was just given the money. Offered car dealerships and their shops for money to have there name put up on the screen. He never paid for food or hotel for 2 years wile going around trying to get
Try to understand all crafts becuase it will help you as a director. What ever you do go at it full heartedly. When he started the film there was no personal narratives. He is the narrator on the film. He has insight on this film that he was not sharing. He was conserend about being the son of the guy and not the director. His mom still get checks for songs his dad worked on over 17 years ago (dad died 16 years ago). He knows about being ripped off (download without paying for it). You don't want your film just passed around. You will never have a community of artist is everything is free.
Master copy belongs to publisher and label. Film is owned by never go into a film were you are stuck using that song. For years Warner bro was taking money for the happy birthday song. People would put that song in a film and they were sued for using it without paying. You must be careful with what you are using all the time.
Father taught him that you got to have common sense, you need to be reals smart when to ask a question and when not to ask a question. you can be 110 percent right about that producer whatever, but know that you might need them latter on. Be smart. Do not be a pain in the ass (do not call to much) you need to network. You can have the best script. But unless you show it to people you will never make it go any ware.
Now he wishes he knew more about editing. Now editing is a one man show. You should all be shooting something with what ever camera you can.
Kick starter. - crowd funding
Soon orders he would show a slide show before film. It's all about marketing. Every time he went somewhere he would grab cards, emails, phone numbers, the reason is you need to get an audience. He needed to ease 2 hundred thousand dollars. Musicians union said he needed to pay that amount. In Kick starter, Only 1 percent make over a hundred thousand. So he asked for 250 to cover everything that he needed. He ended up with 312 thousand instead. He built up a Facebook of 23 thousand fans. He crated this huge branding (trivia for pop music).
If you do this properly this is a way you can fund this work.
Name came from movie The wrecking crew (staring dean Martin). It was a film spoof of James Bond.
Kickstarter gets like 8%.
Must build an audience.
Quench jones - the problem we have today. You have your script, cd, your masterpiece. You should option it but you need to be writing your next work.
Research.
You cannot trust everything on the Internet. When you are doing research and you go into a interview make sure everything you researched is true. Before you meet people do a little research.
Be careful on your Facebook page. Employers will look at your page to see what kind of person you are. Everyone is going to judge you. Do not have pictures that will come back and haunt you.
Try to get through "gate keepers" these are the secretary's, and office people who will block you from meeting big wig people. Just keep trying. If they say no, go back in 6 months to a year.
He found agent of Cher and asked her if she would be up for doing an interview.
There is nothing worse than a "roll out" (running out of film). If doing documentaries always keep the camera rolling. Sound is very important. You can have great sound and no picture and it is better than vis versa.
Don't annoy the secretary or receptionist. Dad would give a bottle of liquor to the guard at studios. Be nice them. Be carful, when you are on your way up there is a path back down.
Editor is the most important!!! His editor would fight with him. So if he wanted to keep a scene he had to put up a fight. Editor said "you can't keep interviewing people" you can't have the time to get to know people.
Hardest part beside getting licensing for music = not giving up.
Most favorite nations= everyone makes the same amount. But make an offer to the artist. If they say no than fine pay the rest of the amount. Still need festival
Far use - need music or clips of a scene. need to have far use insurance.
Now there is only 3 music label companies-
As successful as it is, but it no one was knocking down the door to get to it. You cannot live off your work on one film. You need to love the work.
What's next? He is working on a film about 3 animators from Hanna Barbara.
Tomorrow night (January 29) at the electric theater. Just 5 dollars a ticket. Extra credit. Cox box office. Netflix. Electric theater in St George.
February 18th Guest Speaker Eric Von Stroheim Granddaughter Notes
Stroheim came back from Europe to work on sunset Blvd.
She learned a lot about her grandfather from the questioning her parents underwent from authors wanting to right books about him.
Stroheim had a different side of him in contrast to his professional studio persona.
Stroheim' star on the walk of fame is right next to a rent a car place so it gets driven over all the time, which is a shame.
Her favorite films of her grandfather are the lost squadron and sunset boulevard.
Stroheim' shoes were always polished, an effect of his military background.
Supposedly, he was Jewish.
When he entered the u.s. At Ellis island he changed his name by adding the Von to it, and changed his persona.
He started work in new yours city as a haberdasher selling hats.
Most of the books received information from vickies grandmother and her father.
Seminar - Arthor Lennig - central interview figure. Wrote the book "Stroheim" the man is 83 years old.
Professor of Albani
What we need to know about Stroheim
How did you become interested in him? - grand illusion. Then latter on the film with Gloria Swanson. I thought he was very fascinating then. Got into foolish wives. Thinks it's a magnificent film. All of his scrips marry go round were full 4 hour films. It's impossible to have a 6 hour movie.
He wrote all his own films and stared. Was that unsual back then? He was his worse enemy. He was impossible but very sincere. He was the first to address the horror of the First World War.
Certainly he was interested in feet.
Thalbrerg thought why do you have so many shoes. It's because he has a foot fetish.
His life was a construction. He was a character that he created - he created his own path. He created the myth that he was a descendent from Austrian royalty.
He was a lousy student in school.
He did leave Austria with financial problems.
He was very keen on outfits. He criticized DW Griffith for dressing Loud and undignified. He went though a lot of problems in Grand Illusion with his collar. He spent a lot of time in his room trying to stretch out the collar so it fit him better.
He was very particular about his uniform.
Why do you think he put the character of himself inside his films - he did not like the image of him as a has been. But he needed the money. Stroheim was hired back and paid more than before. But he did not tell his wife. It was when she did there taxes that she found out that he was paid so much. She was mad and felt like he cheated her.
He was in idealist and realist all Rolled into one.
What started you on collecting 16mm prints. - it was hard to find and rent his films. It was much easier to buy bootleg prints. That way I owned it and could just pull it out and watch it.
Do you have films of him that he just directed or do you have films of him as an actor - both. I thought a class on Stroheim and Griffith.
What was the film that you reconstructed - back in 1930, universal decided to re issue foolish wives. They redid the title and edited parts that would not have done well. I got both versions and re cut them to get it back to the way it was. He created a ruler wheel In the film but it was cut when the film was re released. So you only had fragments. Had to stretch print some of the film so you could see some of the scenes.
Did that copy get released? - no I made a copy for my class, the original print was sent to the museum of modern art.
Did he dising the posters for his films? - No. That was the art department.
Universal is going to remake "blind husband" - Stroheim wanted to send bells up to lake arrowhead because they sound better over the lake. The studio said Bells are bells. But he wanted it up at arrowhead lake. The studio then thought the hell with it, he has not changed a bit.
What did Gloria Swanson have to say about him -
There is a scene in a film they were doing together, Gloria's panties fell down, and Stroheim was laughing at her, she then picked them up and threw them at the leading male actor. He sniffed the panties, and put them in his pocket. That did not pass code and was dropped from the final film.
Generally he was not used by the studio's.
There is a fantastic number of ironies in his life.
When he went back to France at the end of his life he was done as an actor? - oh no he keeped making films.
What was his preference in music? - not sure. I assume being a bright fellow growing up in Austria he must have attended many operas.
Did he keep the counterfeit money form foolish wives - the reason they were so scared about showing real money in films was because they were scared that people could go home and print fake money just by having it in the film. It was a stupid law. And now that is no longer a concern.
Stroheim you were 10 years ahead of your time. "Twenty. I was Twenty years ahead of my time!"
If we come to Albani in April will you be out of town - No I will be here!
What is your favorite Stroheim film? The Wedding Party. But Casablanca is my favorite movie.
Dan Whalen Location manager
Worked location for 19 years this year.
BLM - for work on federal land here in St George.
Location is the keystone that holds production together.
first to be called by producer or director who want to shoot a film in Utah. We are special and one of the best places in the world.
Difference in Hollywood and Utah there is a big contrast. REM want to work in Utah instead of LA because Utah has a right to work and lets the project expand.
Right to work: in CA if you want to work on films you must be part of a union. But in Ut those unions are not in place we are a right to work state "we can fire you for any reason". SAG is a guild (like a union) in a right to work state your pay will be a little lower but most of the time pay is pretty close.
In a right to work state you can be hired to do a job without needing to be in a union.
Locations - they are looking for a specific place. Sometimes all you get is a idea. So Lloyd half to put. On the creative hat. You need to be in the mindset of a director or producer to see how this movie needs to look. I need to get as close as I can to what they are looking for. Is that something we can set dress? As a local manager when the producers come in they want to see what you got. It's like a sales call. Look for all logistical angles. What permits do I need, who owns the property. And you need to know what permits you need.
If you get caught using land without permission, consequences can happen. If you want the Utah film commission to help out, you need all the permits. You must do your best to lock in that location.
Who do I contact if I want to shoot in Warner valley? You know it's film friendly. I need to know where the private property are. Go to city hall and find out that information.
if you are on private property, is there a limit on the size of production? The owner could have a say. How many crew on a major film production?=80-140 people employed on a production crew. So you need to find parking. Room for trucks and trailers. Where are all those vehicles going to park? Can I find a parking lot? Or if they are going to park on the street I need a permit from the city. If parking is away from the parking, you will need a shuttle to make rounds. Are you shooting at night? All of these factors are things that you need to look at.
You may need to pay some people off to use there space. You want to be friendly to people.
You need to be a salesman, you need to be a best friend. What am I doing? I am making that area available. So when your production shows up everything is ready.
Start off by being creative and make sure you lock down that location.
BLM - why shoot in Utah?= tax credits. Knowing you area. I have been in every corner of the state. I have never been up to the spring (Utah spring) until I was scouting for locations.
Is there a specific size that requires a specific permit? BLM specific - film permit checklist.
Transfer link to BLM film permit checklist to our blog.
Only paying for size of the crew. This is important for a student film. You need to have all of this info because you do not want a park ranger coming up durning filming asking what you are doing. One you do all of the things needed, you will see that it was not that big of a deal.
You will find working on state land. BLM - they are fairly inexpensive.
BLM= Bureau of Land Management.
Labeled as "short term project" no mater what part of the state you are in. You will be dealing with different BLM reps.
Avoid Wilderness study areas!! Your job is a Boy Scout - leave everything better than how you found it.
#1 BLM is going to look at the effect on the area.
Need 3 million dollars worth of insurance. But before you freek out, student film have there own pollicy.
If you are using 6 different locations. You need 6 different insurance policy's.
You need these insurance policy's because if you don't and if something happens. Then the production company is lyable to pay for damages.
Wildlife, archaeological - "times of interest"-in April and May that is when the desert tortoises will be migrating. You will be required to hire a BLM monitor during the entire time of filming. Hire ring rangers is expensive. They need to be hired on overtime! Washington county get how much per sharif = $60 per hour.
You gotta build relationships with people. They are the ones who will save you. (I have even been able to get out of tickets because of my good relationships)
Determine if project can be allowed. - like hood of resource damage that cannot be mitigated/ unreasonable disruption of the public use and enjoyment of the site/ poses health or safety risks to the public. If Yes to any of these then "cannot be permitted" if No "determine if a permit is required."
"Does the activity use actors, models, sets, or props? Yes = permit required. No "does the activity take place in locations where the public as not generally allowed? Yes "permit required" No does the activity occur where additional administrative costs are likely? Yes Permit required. No still photography or moving photography. Casual use = no permit required. If you have an actor at all = you need a permit.
Keep a camera on you at all times. A iPhone is good but the camera takes the best pics. You are trying to sell these producers. Take a pic of the road. Where to park trucks. Trail to get up to locations. Take a pick of your car/truck to see the with of the road. Get up to welcom springs. There is a cool coral. It's been there for over 100 years.
I used google earth. And google maps. He went in and draw circles. That has coordanance. You want a aril view. If there is any road nere by then you want a permit so you have the permit to that road. Use that google earth pic to mark all locations that could be used. And print it and show to the BLM for your film and where you are going to want to work and all areas.
Scouted Death Valley.. BLM is the California division so things will be different. Work with BLM instead of a park.
Location department deals with trash and bathrooms. You are the first guy on and the last guy off. You are responsible for everything.
Vic Peril - Talent agent/director and Producer
I have been doing speeches for the last 35 years. Mainly to the actors. Much is aclible to the scree. So I were a lot of hats.
I have a concept. You get antiquate. There is a division between the film actor and the film actor.
Above the line and below the line - actors are down in the basement. For the last 15 years there is a lot that goes into producing a play. If you talk to the makeup person - cinema photographer - there is a sepritisum. All think that "this is my film". Usually you will see on the screen "a film by somebody" and that person in no way help write the movie.
It's impurities for any won who wants to direct, produce, act. Everyone should half to learn about everyone else job.
I wrote a scrip and pitched it but when I sent out the scrip the people I am sending it to need to see all the people who have been working on it.
It you have a concept you need to show them.
I also work with actors to tell how the scene works. I feel that young photographers tend to think that it is all about them.
On soap operas they would have 4 or 5 direcotrs. All through out the filming each one had such a dramatic different approach on directing. So in today's world many actors will not work on a movie unless they know the director is someone who will work with them.
My concept as a director is in my head. The director is boss. With out him it's a free for all. You have the concept, it's your job to communicate with the actors. You need to know something about the craft. Becuase what happens when a director is to ego centric and to demanding. Than you will not get anything out of your performers. A tv show or documentary can be an amazing experience for everyone - but it is the job of the direcor to. The tone you set is coming from you. I am telling you that the system that we have in place is a little corrupt. People have got to work together. This is the right place - you are learning discipline. You have the right to inerprate the material.
We have so many young directors today that are so into one shot. That they cannot see the forest through the trees. You need to think what did I want the audience to see. Am I here to tell a story? Audience is not thinking about what shots are done. They will think about that afterwards. You are the last
There is no reason for the director should not know who the actor reaches the
When I pay $15 to see a movie. I want to get wrapped up in the story. I do not want to think about the technical aspects.
It is the directors job to make sure the actors say exactly what the story needs them to say. You need to be very aware of the picture.
When you as a director, when you are sitting with the audience, that is the first time you really ever saw the movie.
You cannot relax in any part of making the movie. You need to be paying close attention to that story.
I think we are making he feeling of having to much power over the actor. I know some direcotrs that only look at actors like they are only dolls.
Directing film is a very negotiable indevor. That's why direcotrs are there in casting.
It's not a easy job. You need to be a master craftsman in this business. When you see them on a set they are going all over the place. But you need to take time to ask what others think about the direcotrs choice.
I know actors that have given direcotrs wonderful point of views. But the director did not want to take it because he did not want the actors to feel like they have any sort of power over them.
One you get behind the reason that everyone is there to tell a story. That is the belief that holds everything together.
The casting system has become electronical. But we will never know how much of the right dissision is until you have the actor is right in front of you. You can't get chemistry until you have the actor there in front of you.
Now a lot of Italian or other European direcotrs will not consider a actor for there movie until they have the opportunity to meet the actor in person. To make sure they are the right person for the role.
