My favorite show on Netflix is BoJack Horseman, which reveals a lot about me, since it’s a show about an emotionally dysfunctional has-been in Hollywood. So, back in January 2018, I was motivated to write a spec script for the show. I thought maybe I could replay the events decades earlier, described in “My Bumpy Road Through “Hollywood” – There once was MOONLIGHTING“, but hoping for a better result this time.
About a quarter century ago – my, how time flies! – I worked on a Paramount Television production from the team responsible for the hit 1980s series MIAMI VICE. It was a pilot starring Edward James Olmos for a proposed TV series called “Hollywood Confidential.” Olmos played a former L.A. cop who now runs a top-flight private detective agency catering to spoiled Hollywood types. (This pilot helped launched the acting career of Charlize Theron.)
Before Bruce Willis was BRUCE WILLIS, and when Cybill Shepherd was CYBILL SHEPHERD, there were only three TV networks, a couple independent TV channels, and cable TV was mostly just rebroadcasts of old shows and movies (HBO wouldn’t get an Emmy nomination until more than a decade later).
One of those three networks – ABC, the American Broadcasting Company – had a very successful series called MOONLIGHTING, starring Willis and Shepherd. Glenn Gordon Caron was the creator. The show began in 1985.
Nice compilation of things sometimes overlooked.
When it comes to film work, actors have it the easiest. Don’t argue. You know it’s true.
In case you need a bit more convincing, consider this:
- We’re the last ones called and the first ones wrapped.
- There is a team on set whose sole job is to make us look beautiful.
- They tell us where to stand, where to walk, and what to say, and they even put down little pieces of tape for us and print out our lines on little pocket-sized sheets to make it extra easy.
- We get to stay warm in the trailer while they’re out there in a snow storm setting up the shot.
- We usually get paid better.
- We get all the credit.
Don’t get me wrong, acting is extremely difficult (especially when you…
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I have begun to build a list of filmmakers and filmmaking resources with a social media presence on Twitter. You are welcome, please, to help build this list. Let’s make it into a resource that can help build the indie feature film industry.
The SECOND episode of Indie Film Industry News is now online. We feature indie icon Lloyd Kaufman of TROMA Entertainment, who discusses crowdfunding for indie movies, including his opinion of successful directors using crowdfunding for their large movie projects.
In the debate about digital versus film, Rich Lackey explains “dynamic range” …
The latest news from Facebook is that they are turning your phone into a permanent tracking device so they can sell your whereabouts to any organization or person they choose, regardless of whether you’ve turned anything on or off. Continue reading
FILMMAKERS, IT’S 2013. DO YOU KNOW WHERE YOUR JOBS ACT IS? Part 2 of 2
Written by Michael R. Barnard
Michael R. Barnard is a writer and filmmaker who has been researching the American JOBS Act since it was first proposed. Barnard is currently working on creating an independent feature film, A FATHER AND SON. He lives in Brooklyn, New York, and is the author of the historical novel NATE AND KELLY. Find him on Twitter at @mrbarnard1, Facebook at michael.barnard and LinkedIn at michaelrbarnard.
This article is an overview and observation, not legal advice.
SUMMARY: The independent film industry in America is not enjoying the growth that would be expected from the surge in the quantity of indie movies being made. The American JOBS Act, passed in April 2012, offers hope to reinvigorate the independent film industry.
The Securities and Exchange Commission is accepting comments on how it will formulate rules for the new equity CROWDFUNDING act that was included in the JOBS ACT. (See my story on ReelGrok.com at http://www.reelgrok.com/jobs-act-crowdfunding)
This is important for indie filmmakers, since the ability to reasonably raise up to $1,000,000 from investors could reinvigorate the indie film biz.
This week, the fabulous NAB Show (http://NABShow.com) has taken over Las Vegas. The convention of The National Association of Broadcasters (see http://www.nab.org and http://www.museum.tv/eotvsection.php?entrycode=nationalassob) has been one of the largest events in the city for decades. The organization is for radio and television broadcasters and at the convention are nearly 2,000 venders showing all the equipment, business opportunities and techniques for creating, transmitting and distributing radio and television.
As digital cinema has taken over the filmmaking industry, the television camera, production and post-production areas have exploded and grown to include filmmakers (see http://www.nabshow.com/2012/event_highlights/for_filmmakers.asp), which now are 12% of the nearly 100,000 attendees.