Since Middle School, I have been a writer, and was the editor of my school paper in Ninth Grade.
I began in television in high school and became producer and writer for the New Year’s Eve variety program “CELEBRATION” which aired on network affiliate TV stations in Minneapolis for several years. I then helped build and put on the air a new broadcast TV station, Channel 29, and became its Operations Manager as well as Writer, Producer, and Director for in-house programs and clients’ productions. Continue reading
I said to myself, for quite some time now, “I gotta do SOMETHING.” Tired of projects failing, hating the junior high cliquishness of crowdfunding, realizing it’s been too many years. I sought the Holy Grail of indie filmmaking: two people, one room, one day.
So, at Thanksgiving time 2014, I took an inventory of what I had:
-A living room where I’m housesitting.
-An old car.
-A creepy old man.
-A couple storylines that had been ‘backstory’ for my failed passion project EVERYBODY SAYS GOODBYE–The Story of a Father and Son.
-Some connections in the acting community in Fresno.
-The upcoming SUNDANCE FILM FESTIVAL.
-A pathetic old computer that almost runs Adobe Creative Suite (I’ve used Adobe since 2001).
The result: HOT CAR. I finished it yesterday (damn pathetic computer!) and am bringing it with me for the fun of it when I head to SUNDANCE tomorrow.
“The worlds of an old man and a young man collide as each faces the end of his own life.”
It’s MATURE (language, nudity, sexual situations) and NSFW.
I hope you find it interesting and involving.
How Is a Filmmaker Consumed by a Passion Project?
The following is a guest post from Michael R. Barnard, who is in the final days of an Indiegogo campaign for his film, Everybody Says Goodbye: The Story of a Father and Son.
For many years, I have been chasing a motion picture project that has completely consumed me. It’s called Everybody Says Goodbye: The Story of a Father and Son, and I first began writing the screenplay in 1998. Having come so close to making the movie a few times, I keep referring to this project as “a fish-hook in the eye” because it’s impossible for me to ignore and walk away from.
Photo by Israel Sundseth
I spent a lot of time on the mean streets of Hollywood. I lived there, worked there, had friends there, I walked them a lot. My screenplay for the feature film EVERYBODY SAYS GOODBYE—The Story of a Father and Son is set there, in 1998.
The sketchy stretch of Santa Monica Boulevard between La Brea Avenue and Vine Street is a little nicer now, but not by much. There has always been a veneer of potential violence.
It’s a little different style-wise, too. Back in the 1990s, if you saw a couple walking hand-in-hand along this stretch, and that couple was of opposite genders, and if each of them were their original gender, then you knew they were scared tourists separated from their tour group. Continue reading
One of the odd things about being an independent filmmaker is the battle to get into production. Those of us who don’t have well-to-do families or impressive connections to powerful people have to cultivate other ways to fund the production. This is especially true today with all the turmoil in the indie film biz and the economy in general, but it’s always been true anyway.
When looking back on many years of trying to get A FATHER AND SON into production (at one point the title was EVERYBODY SAYS GOODBYE–The Story of a Father and Son), I realize there were many experiences that I call “a fishhook in the eye.”