Recently, I focused all of my creative energy and time solely on one film project over a six-week period. It was the Kickstarter campaign for our documentary Cats of Malta. A week before the campaign launched, I was fired from my English teaching job in Malta for not coming into work when I was sick (that’s another story). So then there was nothing distracting me from this single project, an odd experience for me, a serial multitasker and juggler of life.
The campaign took up almost all of my waking hours each day. It proved to be mentally and physically draining because it meant taking on multiple tasks — social media, campaign page building, interacting with fans, managing a team, updating backers and sending newsletters on two platforms, going live on Facebook to engage online, sending emails daily, and watching and learning from crowdfunding course videos.
Imagine if I was also focusing on our other films with Nexus and all the tasks I have to complete for them, which are plenty! I was promoting, marketing and building audiences for Machination, In Corpore, and No Woman is an Island before the Kickstarter campaign for Cats of Malta went into prep. Not to mention I do the same tasks for our filmmaking courses, YouTube Channel and website, plus I update the website regularly and write the monthly newsletter.
That all stopped for six intense weeks.
Read MoreThis week, I finished yet another edit pass on Machination, our pandemic inspired horror / drama that follows the plight of a character named Maria suffering from mental illness in the face of a world pushing fear. It is running at 62 minutes, minus opening and closing credits.
When the first cut clocked in at only 60 minutes, we went back to the drawing board and wrote new scenes to be filmed. We called back the lead actor Steffi Thake and even recruited new actors to play additional characters, young versions of Maria and her brother Yorgen, which we meet in dreams and flashbacks in the story.
We had this idea in our head that we wanted the film to run for at least 70 minutes. For some reason, 70 minutes felt like a feature to us whereas anything under wasn’t quite there. But why did I feel this way? Wasn’t 70 minutes still on the short side? What is the length a film needs to run to quality as a feature film?
Read MoreAt the end of last month, I was working full-time as an editor and videographer for a Maltese news organisation. When I first saw the job advertised, I was excited. Filming news and human interest stories around Malta, editing videos, learning more about what was happening on the island, it sounded fantastic.
I was entering my fifth month of travelling around Portugal with Sarah, staying three months longer than intended due to multiple cancelled flights, so our bank accounts were running low, and we could use the influx of steady income. So I applied. I went through two rounds of interviews to land the job. I negotiated a higher salary due to my experience. I flew back to Malta with full-time work guaranteed and the prospect of an exciting new experience and even new career.
But even before I began work the voice in the back of my head was asking ‘are you sure you want to do this?’ I wasn’t. And the result was an awkward conversation with the boss announcing my departure only two weeks into the job.
Read MoreThe golden age of filmmaking in Hollywood set up an image of a producer being the person who calls the shots and says what goes and what doesn't – outsiders often or not have this image of a white, male, most likely middle-aged big shot, totally comfortable with demanding what he wants and getting it too. He is assertive, which is a kind way to say mean or bossy (when talking about men anyway), and everyone drops to their knees, scampering all over the studio to please him and meet his requests.
In the modern world, we still have these important producers, but the image of them has changed slightly, along with the way producers operate, and importantly what has also changed is how the people working below the producer respond to their demands.
Our generation is accepting of producers of any gender, religion, race and colour, but we are also aware of the power imbalance that comes ingrained in the hierarchy of the film industry. This was demonstrated by the much needed Me Too movement, and what followed for industries outside entertainment with the Time's Up movement. Both proved that you can't be simultaneously worshipped and an insensitive asshole that abuses the power that comes from your role.
Read MoreSome actors have a character they portrayed on the screen whose shadow they live in most of their lives. For Sean Connery and Roger Moore it was James Bond, Boris Karloff had Frankenstein, Bela Lugosi had Dracula and mine is Dace Decklan: Private Eye.
Who the hell is Dace Decklan: Private Eye, you might ask?
It all started as a twinkle in the eye of film director Ivan Malekin. How he ever came up with the concept of melding Magnum P.I and James Bond I will never know. Then again maybe I should just ask him? I just realised I never did.
Read MoreNovelist confesses: It’s probably all about me.
One of my early readers – let’s call him Dave…although his real name is Dave – made an astute comment about the novel I have just had published. Having known me for several years it was plain to him that the fictional world of the book was a stylised and more narratively concise version of the somewhat messier realm I normally inhabit.
“I also smiled at the many conversations that echoed discussions we have shared about your life observations and philosophies, and of course the colourful mix of autobiographical traits scattered across various characters.”
There are many artists who cringe when asked if their work is autobiographical but, as a novelist, I feel compelled to confess that my fiction feeds directly, sometimes brutally, on the plot points and psychodramas of self. But it doesn’t end there. I also feast on the blood and gore of friends, family and random strangers. In fact, anyone and everyone who veers too close.
Write about what you know. Isn’t that what they say? Little wonder The Last Summer of Hair is suffused with detail drawn from my own experience, and from my observations of those unlucky enough to fall within the cannibalising orbit of my literary appetite. Dave will not be the only one of my friends to detect unerringly familiar motifs in the book’s 292 self-referential pages. Indeed, some of those closest to me will wonder if it’s them I was writing about. (Truth is, it often was.)
Read MoreGenerally speaking, most people believe that committing piracy is not really a big deal. It's not that harmful. For most of us average folk, it's simply not feasible to sign up to and pay for a multitude of subscription streaming sites. We pick one service, maybe two if we are on a steady wage, but how many people can afford to indulge in memberships to Netflix, plus Amazon Prime, and HBO Max, and Disney+, and Hulu, and all of the other streaming services out there? It becomes much too expensive, so when it comes to cost, piracy can be understandable too.
WHAT THE CURRENT STATS SAY
Certainly, more and more people are turning to piracy, not just in TV and film, but across all industries. The international piracy stats in 2021 indicate:
The USA is at the forefront of piracy with 17 billion clicks on illegal piracy websites in 2021 alone.
Russia has the highest piracy rate in Europe with over 14 billion piracy site visits, while Indonesia is the leading country in Asia for piracy with 6 billion visits.
70% of online users find nothing wrong with online piracy while 34% of Gen Z (people born between 1997 and 2012) use stream-ripping programs and websites to download films and audio from streaming sites.
Pirated videos get over 230 billion views a year.
Read MoreExposing the Double Standard Surrounding Sex & Violence in Film & Art
Our new film In Corpore is too sexy for Tubi.
This is something we learnt two weeks ago, and we’ve added Tubi to our list of platforms and apps we cannot reach with the film. All our attempts to advertise In Corpore on Instagram fail. Our trailers and teasers are flagged on YouTube. When we wrote in the film’s IMDB synopsis “a sensual, sex-positive exploration of contemporary relationships”, the synopsis suddenly disappeared. Trying to advertise the film through GoogleAds is an ongoing battle and we are losing – Google restricted our ability to market the new release through YouTube due to images being deemed “adult content”. Images, mind you, of people dancing, fully clothed. And for a year leading up to the film release, we couldn’t even share the In Corpore website on Facebook or Instagram because it was blocked by those platforms. The crime: too sexy.
Read MoreIf there is one phase to sum up the year in film at all levels, be it Hollywood or the independent and micro-budget filmmaking scene for the year of 2020, it would have to be ‘geeze, never saw that coming, mate’.
With the Covid-19 pandemic beginning to spread worldwide as early as February and still raging now to varied degrees across the globe, film distribution and releases, both in cinema and through streaming platforms went through a major shift, and the playing field between Hollywood and independent filmmakers was almost levelled out as nobody quite knew what to do.
This was due to most cinemas in North America shutting down earlier in the year (unfortunately some went into bankruptcy and closed their doors permanently), causing big budget Hollywood films that were planned for release like Black Widow and the latest James Bond installment No Time to Die to be pushed back until 2021. Also halted or delayed were anticipated films which were to move into production at the beginning of 2020, such as Mission Impossible 7 andThor: Love and Thunder.
Read MoreIn February this year, Sarah Jayne wrote an article about self-distributing our feature In Corpore. She talked about screening the film in a cinema in New York, one of the settings of the film, perhaps doing a tour of the country à la The Joyful Vampire Tour of America, and then doing cinema screenings in the remaining countries we filmed in: Australia, Germany, and Malta.
Well, none of that went ahead. The world changed, as we all know; a global pandemic brought everything to a standstill. And still we aren’t clear of the spectre of this virus, with different parts of Europe facing another lockdown, America still out of control, and Australia suffering too. The way films are distributed changed, perhaps irrevocably. Cinemas shut like so much else. The traditional release windowing model was scrapped, blockbuster films like Mulan streaming for free on Disney+ as a $200 million dollar experiment, while Tenet by Christopher Nolan stuck to its guns and became the first Hollywood tent-pole to launch in theaters following their prolonged shutdown, the bold move hailed by executives and media as the saviour of cinema.
It bombed. Studios were spooked. Cinema wasn’t saved.
Read More