Hollywood: Rest in Peace
by Stephen Simon

(Stephen Simon (Deutsch) has produced such films as SOMEWHERE IN TIME, BILL AND TED’S EXCELLENT ADVENTURE, ALL THE RIGHT MOVES, and WHAT DREAMS MAY COME. He has been the President of three major production companies where he oversaw the production of such films as SMOKEY AND THE BANDIT and THE GOODBYE GIRL. He is the author of the new book THE FORCE IS WITH YOU: MYSTICAL MOVIE MESSAGES THAT INSPIRE OUR LIVES, is the founder of www.Mysticalmovies.com, and writes a monthly movie column entitled The Movie Mystic that appears in almost 30 publications worldwide. Stephen is a sought-after international speaker and is considered the leading spokesman for the recognition of Spiritual Cinema as a separate genre.)

Financing films in Hollywood has changed forever, primarily due to the corporate takeover of every single significant film distributor. Corporate thinking has replaced entrepreneurial passion. Right-brained people are being asked to make left-brain decisions and vice-versa. The average Hollywood film costs almost $85 million to produce and market, and that’s what basically gets produced: “average” films.

The laws of entropy have infiltrated the studio culture. The financial model no longer works and those in power know it. While the studio publicity machines trumpeted the biggest grossing summer on record for 2002, the studio accountants were telling their bosses that the financial bottom-line was a whole different story. In August of 2002, after that “record” summer, almost all of the parent company stocks of all the studios were selling at their 52 week lows.

Serious-minded, substantive, challenging adult films are now released only in November and December to qualify for Academy Awards. For example, look at 2002. While art-house and foreign films are, certainly, released on a more regular basis throughout the year, the only really substantive Hollywood films released for the first 9 months of the year were UNFAITHFUL AND ROAD TO PERDITION. Fortunately, the winter brought such wonderful films as THE HOURS, FAR FROM HEAVEN, ANTWONE FISHER, BOWLING FOR COLUMBINE, ADAPATATION, ABOUT SCHMIDT, and several more

What we know as “Hollywood” has become an industry that is almost single-mindedly focused on major movie-star vehicles, action films, high-concept “franchises”, and mass audience comedies…and Hollywood does a great job making those films. Personally, I loved films like SPIDERMAN and, as a viewer, I look forward to the summer “blockbusters” as much as anyone…..but, to quote an old cliché---“Is that all there is?”

No, it’s not.
Isn’t there another way?
There certainly is.

For tens millions of people in the world today, there is a deep search for the meaning of life. Spiritual Cinema (to be distinguished from Religious Cinema) has been around forever (IT’S A WONDERFUL LIFE could be considered the grandfather of the genre) but it has remained beneath the radar of the traditional industry. Why? As an answer to that question, I’m including here the Introduction to my book:

“If you build it, they will come.”

Field of Dreams

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Donations from Corporations
by Carole Dean

Carole Dean pioneered the tape and short end film business in Hollywood taking a $20 bill and turning it into an $50,000,000 a year company, created Studio Film & Tape, produced and hosted her own successful cable show, HealthStyles, (interviewing the biggest names in the industry such as Dr. Deepak Chopra, Dr. Weil, Dr. Caroline Myss) and is also a published writer. For the last 10 years she has been raising goods and services as donations for filmmakers to create documentary and short films that are “unique and make a contribution to society” Carole produced over 100 shows on cable. Interviewed and referred to as ‘the most efficient and organized producer’, and “best cable producer” by Century Cable. The Dean family has been in the film industry for 4 generations.(Rick Dean, her son, has acted in over 30 Roger Corman films)

I have a confession to make. When I was running Studio Film I used to hide in a corner office so filmmakers couldn’t find me. Of course my wonderful dad, who was powerless to a filmmaker’s passionate pitch, would give me up every single time!

Small businesses and corporations are tiny untapped goldmines for independent filmmakers. Local businesses and corporations always have managers (or dads) who are very accessible and easy to talk to. Be it my dad, or one of my employees, someone was always knocking on my door in the middle of the day with some filmmaker’s proposal. Usually it was only a one-page proposal, which was a blessing since business seemed to grind to a halt whenever this occurred. Customers could be lined up at the counter but it didn’t matter. Everyone in the office got wrapped up in the drama that was unfolding. You could practically hear the drum roll in the background. Would she say yes or no? Looking back now I realize this was probably a conspiracy since everyone knew the buck stopped with me. People everywhere (yes, even people in Hollywood) want to be part of a film.

When I scanned these proposals I would look for the following things:

*The story synopsis, hopefully brief and to the point.
*Why the filmmaker was making the film.
*Exactly what the filmmaker needed and why.
*Who would benefit from the film?
*What the filmmaker was willing to do for me (an end credit, product placement, etc.).
*How much the donation would mean to the filmmaker.
*For product placement, what they needed and how long they needed it.
*Remember, business managers are busy so show ‘em the facts ma’am, just the facts.

If you have a fiscal sponsor make sure to put this information on all of your proposals. Your tax-deductible status will go a long way when looking for donations. Customize your proposal for each individual business you approach. When you make it personal the recipient is going to feel special. You chose this business over their competitor because of their wonderful service, their fantastic employees, or their great reputation.

Start by making a list of all the stores and restaurants near your location. Visit the managers of these business with your one-page customized proposal in your hand and the best smile you can muster. Don’t forget to dress the part. Wear a Kodak Film cap and have a Maxell bag slung around your shoulder. Make sure they see you and think Spielberg.

Be considerate to all of the employees. Sometimes you have to leave your proposal with them. If they are anything like the wonderful people who worked with me at Studio Film, once they get caught up in your enthusiasm they will beg their manager to become involved in your film. Remember, the employees are your support team. Mention how much your crew enjoys their pizza, or how impressed you were the last time they did some copy work for you. Talk about your film and give your pitch as though you are asking for a $10,000.00 grant.

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