INT. SOME DARK ROOM - ANYTIME

     A cool dude, AARON, sits across from an older, wiser, cooler dude,
     DOV.

                         AARON
               Hi Dov, I'm gonna play good cop and
               bad cop to get the real info that
               alive not dead members need to know
               about your class.

                         DOV
               But you look more like a Jewish
               dentist.

                         AARON
               Haha! I want to start out by asking
               you about two of your star
               graduates: Quentin Tarantino and
               Robert Rodriguez. As far as I know,
               except for your 2-Day Film School,
               neither of them had any traditional
               film school training. I think one
               of the reasons why they are so
               successful is because they are not
               bound by the rules of traditional
               film schools.

                         DOV
               I'm not hearing a question here. Is
               this the good cop part?

     Aaron shines the spotlight onto Dov's head.

                         AARON
               Can you elaborate on how your non
               traditional way of filmmaking
               training helped them succeed in the
               Hollywood film industry?

                         DOV
               Two of my crash course film school
               graduates, who have grossed over
               $16 BILLION US DOLLARS in the past
               decade, succeeded with my non
               traditional film education
               information for they did not try to
               launch their careers, the
               traditional way, by thinking they
               can start-at-the-top with an
               expensive, effects laden, studio
               budget feature film.
               But due to my class, they realized
               they would not obtain the financing
               for to launch their career. Instead
               they accepted my non-traditional
               independent method of starting at
               the-bottom with a low-budget one
               location feature film. Thus,
               Quentin did "RESERVOIR DOGS", a low
               budget, 90-page, 1-location (a
               garage) script, and Rodriquez did
               "EL MARIACHI, a no-budget, 90-page,
               1-location (small town) script.

                         AARON
               How can their success be emulated
               by Hong Kong and China's
               filmmakers?

                         DOV
               Tarantino & Rodriquez's success can
               be emulated by Hong Kong & Chinese
               filmmakers by doing the exact same
               process. Secure a great 90-page, 1
               location, such as a Wan Chai
               Bordello, TST Hotel, Kowloon
               Restaurant, Soho Police Station,
               etc. and with HK$10,000 to
               $HK$100,000, independent money, and
               2 DSLR or HD or Red One cameras do
               a 1-week or 2-week shoot with a one
               month edit. Now, if the Hong Kong
               or Chinese filmmaker has a gift of
               dialogue in writing and casts the
               proper, although not famous, actors
               and shoots in a location that is
               only unique to Hong Kong or
               Shenzhen it is my firm belief that
               the no-budget to low-budget
               finished feature film will be in
               numerous film festivals and have a
               good likelihood of securing
               distribution. The key again is the
               great script that takes place in 1
               location which has excellent
               dialogue to propel the story and
               plot twists.

                         AARON
               Why do you think your students can
               succeed in launching a film career
               faster than traditional film school
               graduates?

                         DOV
               It is very simple. All those
               expensive 2-4 year theory laden
               film programs get everyone full of
               so much useless information, that
               the students become intimidated by
               the process, although they know a
               lot of small details, and still do
               not understand the film business.
               Whereas my student-graduates, in
               one weekend walk away with just
               enough information on
               screenwriting, budgeting,
               financing, directing, shooting,
               editing and distributing that they
               quickly get to see the entire
               puzzle called "Hollywood" and
               understand the film business and
               how to start their careers with
               their first independent feature
               film.

                         AARON
               It says that your 2-Day Film School
               'condenses four years of film
               school education into 2 days'. What
               about all the technical knowledge
               such as directing, cinematography
               techniques, lighting…Will you
               discuss them during the 2 days and
               how will a person be able to learn
               them in 2 days?

                         DOV
               Even though my course is only 2
               Days everyone in attendance will
               understand the basics of Directing,
               Lighting, Cinematography, Editing,
               etc. What they will not understand
               is the art of those crafts, for I
               do not teach art, I teach business.
               And I believe no one can teach art,
               no one can teach talent. I teach
               the business of making the art. I
               do not teach art. For as a Producer
               or first-time Filmmaker you just
               want to know enough information
               about Directing, Budgeting,
               Lighting, Camera, Shooting,
               Editing, who-to-hire and what-to
               pay, so that you can get your first
               feature film done.
               The key word is "done" and, more
               importantly done on a no-budget or
               low-budget independent budget which
               is probably going to be HK$10,000
               to at the absolute most
               HK$5,000,000. Examples are; with
               respect to Directing I will quickly
               teach (1) how to cast, (2) how to
               schedule 5-pages and 25 shots/day,
               (3) how to shoot every scene with a
               Master Shot, 2 Medium Shots and 4
               Close-ups and (4) how to hire and
               oversee your film editors and sound
               editors during post-production.
               With respect to Lighting I will
               teach how to set up each shot with
               a Key Light, 2 Back Lights and Fill
               Iights knowing that you only, on
               your first shoot, have 10-15
               minutes per setup to light. With
               respect to cameras I will teach
               what format (Film, Digital, HD,
               DSLR, etc) you can afford then how
               to get-the-deals, from camera
               rental facilities in Hong Kong or
               China, then I will teach how to get
               a Cinematographer, a Camera
               Operator, a First Assistant
               Cameraman and 2nd Assistant
               Cameraman who knows how to operate
               those cameras and what-to-pay them.

                         AARON
               What's the bare minimum budget
               required to make a feature film
               that is professional looking?

                         DOV
               Depends on what you call
               "professional looking". However,
               numbers (aka: HK dollars) are very
               simple to explain. HK$20,000 will
               get you a 2-day, weekend shoot,
               with 1 DSLR camera and a 6 person
               crew. HK$200,000 will get you a 1
               week shoot, with 2 HD or HDV (1080i
               or 720p) cameras, and a 10 person
               crew with an original soundtrack.
               HK$2,000,000 will get you a 3-week
               (18-days) shoot in the 35mm Film
               format, with professional actors, a
               25 person crew and a 2-month post
               production process.
               Thus, for HK$20,000 to HK$200,000
               you will get a movie that looks
               like "Blair Witch Project",
               "Paranormal Activity" or "El
               Mariachi". For HK$200,000 to
               HK$2,000,000 you will get something
               more like "Reservoir Dogs" or
               "Napoleon Dynamite". And, for
               HK$2,000,000 to HK$5,000,000 you
               will get "The Wrester", "Juno" or
               "Little Miss Sunshine". And each of
               these films I, during the "2-Day
               Film School" will  teach how to
               make them step-by-step, bank check
               by-bank check in a very simple to
               understand manner. Again, what I
               can not teach is talent. Thus,
               everyone must bring their own
               talent and I promise to give them
               the information to make their first
               feature film.

                         AARON
               Film production costs are often in
               the millions and multi millions
               both in Hong Kong, China and
               Hollywood.  How can filmmakers in
               Hong Kong break out and make great
               movies on a small budget?

                         DOV
               The key to making great movies on
               limited budgets has never changed
               in the last 100 years. It is
               always, "Get the great 90-page, 1
               location screenplay". Now to get
               that, I apologize but the most
               important thing to do is to get
               realistic by attending my "2-Day
               Film School" on January 7-8. After
               that I expect each person to read
               15-20 scripts of movies they've
               seen, in the similar genre of what
               they are about to make. Then I
               expect the filmmaker to write,
               register and copyright a 3-5 page
               treatment getting the 15 basic
               scenes for Act I, II & III of their
               primary story fleshed out.
               Then the filmmaker is to flesh out
               their story with 3 B-stories or sub
               plots, each one taking up 7-8
               scenes and intertwined into the A
               Story and then establish each one
               of the characters in your story
               with a back story. Now with the 40
               50 scenes established in a high
               low, rollercoaster emotional
               structure the filmmaker, as writer,
               or filmmaker, as producer who hires
               a writer, is to get the script
               written and kept in one location.
               Hong Kong & China have many many
               amazingly visual and interesting
               sites/locations that the rest of
               the world, especially America,
               wants to see. All that is needed to
               get them seen is to obtain the,
               what I teach, 90-page, 1-location,
               script and shoot in your visually
               interesting locations, and with
               HK$10,000-HK$100,00, rent
               inexpensive Digital, HD or HDV
               cameras and shoot the movie, with a
               minimal crew and a 1-week to 2-week
               shoot.

                         AARON
               How much filmmaking knowledge do
               attendees need prior to coming to
               your class in order to take full
               advantage of your teaching?

                         DOV  
               The answer is simple…NONE! Actually
               the less one thinks they know the
               easier it will be form me to teach
               them how to make and sell their
               first independent feature film. No
               knowledge is needed, for my job as
               "Hollywood's #1 Film Instructor" is
               to give you that knowledge in just
               one-weekend in a manner that is
               very understandable. My course is
               for three classes of students.
               First is the mature adult who has
               no knowledge if the film business
               at all. Second is for Writers, who
               haven't sold their scripts, or
               Directors & Actors, who have yet to
               star, with an opening title credit,
               in a feature film that has been
               made.
               Third is for professionals in the
               HK & China film industries who,
               although understand technique and
               craft, still have not made a
               feature film that has been selected
               for Cannes, Sundance or Berlin Film
               festivals and been bought and
               distributed throughout America and
               Europe.. For the first-timers they
               will quickly understand the film
               business. For the Writers,
               Directors & Actors they will learn
               how to make their first feature
               film starring themselves. And, for
               HK professionals they will learn
               how to be more efficient and the
               secrets and tricks needed to get to
               Cannes & Sundance and secure
               distribution.

                         AARON
               Can you give us an overview of the
               topics you will be discussing in
               the 2 days?

                         DOV
               On Day-1 (Saturday, January 7) the
               course focuses on "Making Your
               First Feature" and I assume that I
               have access to HK$10,000 to
               HK$3,000,000 to spend. Then I take
               an hour explaining Budgeting &
               Planning, then a 2-hour crash
               course on Screenwriting, then Pre
               Production, Organization,
               Scheduling Crewing, Vendors,
               Directing, Casting, Shooting,
               Lighting, Editing, Scoring, etc.,
               and in one day everyone will walk
               away knowing how to make their
               first low-budget independent
               feature film. Then on Day-2
               (Sunday, January 8) I now focus on
               "Selling Your First Feature Film"
               and show everyone how to take the
               feature film that we step-by-step,
               bank check-by-bank check, made on
               Saturday and now sell and
               distribute it around the world and
               profit.
               First I teach how to market to Hong
               Kong & Chinese Distributors during
               pre-production, production and post
               production so that they are
               contacting you requesting
               screenings. Then I teach how to set
               up the screenings at Asian Film
               Festivals (Hong Kong, Shanghai,
               Singapore, Tokyo, etc) and foreign
               Film festivals (Sundance, Cannes,
               Toronto, Berlin, etc) and what,
               more importantly film festivals
               cost. Then I teach, now that you've
               attracted distributors, at a film
               festival, how to negotiate
               distribution deals. How to do
               Foreign Sales (Japan, Korea,
               Germany, Australia, Brazil, India,
               etc.) and maximize revenues from
               TV, Cable, Gaming, On-Demand, Pay
               Per-View plus 8 other revenue
               sources. Then, on Sunday, after I
               have taught on Saturday how to make
               a-film and then, on Sunday, how to
               sell-a-film, I will now teach how
               to Finance your first feature film.
               And, I will make it so easy to
               finance that students always ask me
               "What if they give me too much
               money?" Which of course is a
               problem that every filmmaker wishes
               they had. In a nutshell my "2-Day
               Film School" is WRITE, DIRECT,
               SHOOT & EDIT on Saturday (January
               7) and PRODUCE, FINANCE, DISTRIBUTE
               & PROFIT on Sunday (January 8).

                         AARON
               Well, that just about says it all
               and then some! Thank you so much
               Dov for taking time out to answer
               these questions! It was your class
               that gave me the encouragement to
               just go ahead and make a feature
               film! http://facebook.com/game.on.movie

                         DOV
               Thank you for the opportunity to
               bringing the real Hollywood
               filmmaking business information to
               Hong Kong & Chinese filmmakers, who
               absolutely have talent, but simply
               needed the basics nuts-and-bolts of
               the global film business. As Hong
               Kong & China build more multiplexes
               and the On-Demand broadband market
               expands to the 5 billion
               smartphones projected by 2016 the
               revenues are about to be massive
               for Asian filmmakers who get
               started with a foundation of 2-3
               low-budget or no-budget feature
               films. Happy Filmmaking & I hope to
               see you January 7-8 in Hong Kong.

     Register now for Dov's class with the code "overglobe" and
     you'll get your ticket for $2795! http://www.hollywoodinasia.com

     Date: Sat & Sun - Jan 7 & 8, 2012

     Venue: Hong Kong Film Archive Cinema

For the past year, I've been deep in directing, producing and editing a feature film from my screenplay, GAME ON. You can find it here on Facebook.

And it's been a long, hard ride. So hard that I'm considering writing a book about it. If you think Mr. Coppola had it rough, you haven't seen nothing yet!

My dad said, "Aaron, after the film is finished, you might feel like the rest of your life seems anticlimactic." I replied, "I hope so!"

It has been a life-changing experience. I used to criticize and complain (coming from the actor's chair), "Wow, it must be really tough to make a good film! This film sucks!"

Now I recognize how hard it is to make even a horrible film. When I see a film now, I can find at least one good thing about it, because now I know how much luck is really required for literally anything to work out right.

That's right, I said luck. Having the most incredibly talented (insert trade here) doesn't make a bit of difference if the location gets shut down, the electricity is blown, it rains, or whatever else you can imagine.

Of course you need talent and some money. If you don't have much talent, money will help you surround yourself with people that do... But you still gotta have luck.

I wouldn't trade the experience for anything. It's been fantastic and rewarding. I've had lots of inspiration and help along the way from a lot of Official Artists here, and they know who they are.

I also give credit to Dov S-S Simens for screaming at me, "Quit waiting around to sell your screenplays and just get out there and make your own film!"

Those of you who have attended Dov's course in the past will testify that there's nothing quite like having Dov insult your intelligence and laziness to get you into action.

Dov's back in Hong Kong January 7th & 8th... Find out more here:

I will of course attend --- first I'll give Dov a muay Thai elbow, then I'll give him a great big hug --- and maybe even a slobbery kiss.

Cheers
Aaron

'sbeen a long time since I did that stroll on AnD!

~~~~~~ BROBOTS

I finally finished editing Brobots, a film I directed starring Andrew Ng, a fellow Official Artist on AnD.

When I bought a matching pair of JVC HD cameras in late 2008, it never occurred to me that you'd need 12 supercomputers to process the footage. Being a complete computer geek since I was 13 you'd think I'd know better...So when I shot the film in 2009, I had a sneaky suspicion it would be a while before I could finish it.

I dragged my portable HD to Fortress month after month looking for a laptop PC that would play the footage smoothly. They all choked. Why not buy a macbook, you ask? Since I'm a Visual C++ and Visual Basic programmer, I prefer Windows. I like to tweak things. Macs remind me of a refrigerator... totally un-tweakable. PCs are like those old muscle cars you can keep hot rodding with aftermarket gear. 650 Holley double pumper, Edelbrock intake... don't get me started.

Finally in January I was able to find a sweeeeet ASUS laptop that played the footage with ease. So the editing of Brobots began. After my co-writer Remo Notarianni sorted through all the footage for the best takes, I dove in. I have OCD when it comes to editing. After doing tons of TVCs back in the States, every frame counts in a 30 second spot. I still edit the same way.

So, it took weeks to finish the edit. Then writing and performing music for the soundtrack... endless decisions.

Now it's done. It'll make the rounds to the festivals but I don't expect too much. Otherwise, you'd be able to watch it on my youtube channel. Festivals don't like to be trumped with online "premieres".

~~~~~~ MUSIC

I realized I forgot to upload music to this page, so I did that today. There's a funny song from my rock band Sgt. Saltine, “Big Gun”. Yes, that's what it's about, and yes, I’m twisted. I co-wrote it with the vocalist, whose name is also Aaron! I played a guitar solo with only 3 different notes. There are octaves of course, but still only three notes. It’s my strike against all those Yngwie Malmsteen sweep-picking arpeggio fanatics.

Then there's “The Emergence”, an orchestral piece I wrote for the end titles of Brobots. It's my nod to my fave film composer, Bernard Herrmann. He wrote the themes for Psycho and all of the Ray Harryhausen films.

There's also a [techno?] piece on there. I'm really not sure what genre it is. Probably "noise" is the most accurate. Writing for film requires a love of all genres, and I do. Whether I succeed at writing in those genres is another story!

~~~~~~ CASTING

I met this mild mannered dude outside the FCC and tried to explain what it is that I do. Since I'm unsure exactly what that is, I told him about the acting group I manage on Facebook. He has a friend that has a friend, etc. who wants to produce a film in HK. I told him I'd be happy to put up the casting notice. It's on the Official Artist Forums here on AnD...

Of course everybody assumes that I have decision making power on this project, but I don't. I'm just passing along the submissions. It sounds like a really great project, though.

I will audition for the part of the super filthy rich guy (MALE 6) who wears a Rolex. Anybody got a Lamborghini so I can start my method approach? I really need to get into character. I bet Bey has one hidden somewhere... Come on bro, give up the keys.

It's been an amazing past week working on Digger's film.

To all of the people I've met and worked with, you're the best!