My Bumpy Road Through “Hollywood” – My 2003 Business Plan & Financial Projection for EVERYBODY SAYS GOODBYE


After I was divorced in the early 1990s, I ended up living in a small apartment in Hollywood, near La Brea and Franklin, three blocks from the Chinese Theater. I scrambled to make a living, to be creative, to make movies.

I walk a lot, and always have. When walking a lot in Hollywood in the 1990s, anyone would discover the “boys of the streets” populating Santa Monica Boulevard. This was when people found sex the old-fashioned way: on street corners rather than hookup apps. As a writer and a human being, I was fascinated about how this world of gay boy hookers could exist, and I thought there might be a story there. Then, months later, I worked on a film shoot that took me to the beautiful mountains of Big Bear Lake, far from Hollywood, and remember listening to rural good ol’ boys talking about how they’d throw out any boy of theirs who came out as gay. That, too, fascinated me. Eventually, I wrote a screenplay about the world of boys on the streets who were thrown out of their homes for being gay. It was about the father, and how he had to change when he recognized the mistake he made.

My screenplay EVERYBODY SAYS GOODBYE—The Story of a Father and Son got a lot of attention. It floated around some studios for a while (Paramount, Sony, Warner Bros.) but always died there because it was just too edgy. Nobody, in the end, could trust a movie that was about men buying boys.

So, I tried the indie film route. I had made a lot of video and film by myself, but nothing as big as this.

This was way back at the turn of the century. The indie film world was very different than it is today. This was before the near destruction of indie film caused by the triple disasters of the Writers Strike, Digital Disruption, and the Great Recession a few years later. The excitement around “cheap digital filmmaking” was centered on the Canon XL1 mini-DV standard definition camera. If you were cool in Hollywood in those days, you had to carry around an XL-1.

When I looked around at how indie films were financed, I didn’t like what I saw. Too often, it involved telephone boiler rooms with ignorant high-pressure sales people talking ignorant investors (what is commonly called “dumb money”) into investing in something they really didn’t understand. Or it was the enthusiastic but unrealistic kid who managed to talk some used car dealer into funding his movie if he’d put the mistress in it as a star. Too many pushed pie-in-the-sky nonsense to get rich people excited about parting with their money.

I despised that.

My thought (stupid, in hindsight) was to fully educate the potential investors (in those days, there were not a lot of investors who understood the indie film industry).

To do that, I poured virtually everything I understood about indie film into a way-too-long Business Plan & Financial Projection. It was a booklet of about 100 pages of details, charts, history, comparisons, and projections. This was long before we moved to using simple “pitch decks” for concise, brief presentations to more savvy investors.

I recently stumbled across my Business Plan & Financial Projection that I wrote way back in 2003! It shocked me to realize that’s now more than a decade and a half ago. Wow. History.

What’s interesting about this document is that I captured a lot of information about how the indie film industry existed and functioned at the turn of the century. You might find that history interesting; some of you may find it nostalgic. Here is my 2003 Business Plan & Financial Projection for the indie film EVERYBODY SAYS GOODBYE—The Story of a Father and Son.

By the way, I never raised enough interest or money to get my indie feature film EVERYBODY SAYS GOODBYE—The Story of a Father and Son made. I always got close … I would call it my “fishhook in my eye” that kept drawing me in long after I should have given up. I will never again do something so expansive again. I learned that dumb money may be the best money — at least those producers who set up boiler room operations with morally-suspect methods usually ended up financing their indie movies. I think of what I could have done if I had simply used honest telemarketers.

The sad thing is, around 2010, interest in EVERYBODY SAYS GOODBYE—The Story of a Father and Son perked up again because of widespread awareness and concern about gay teen suicides. And again today, as homophobia is once again raising its ugly head in society and our laws.

EVERYBODY SAYS GOODBYE—The Story of a Father and Son is a screenplay that continues to be relevant and empowering.

My Bumpy Road Through “Hollywood” — Investigate “The MURDER of James Dean”!


[UPDATE: This was our goal, but it didn’t work.]
We are filmmakers; actors, director, cinematographer, crew members, producers. We are coming together from across the country – New York City, Fresno, Los Angeles – to make a smart, entertaining short film that you and Hollywood will enjoy. Join us on Indiegogo at https://igg.me/at/TheMURDERofJamesDean

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My bumpy road through “Hollywood” – PALLION THE YOUNG STALLION spec script for BoJack Horseman


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.

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My Bumpy Road Through “Hollywood” — A VENOM IN THE BLOOD


BARNARD BUYS VENOM RIGHTS - Daily Variety

BARNARD BUYS VENOM RIGHTS – Daily Variety

Two decades ago, I bought a book.

In producer-speak, that means I acquired the rights via option to make a movie from a book. I knew a TV news reporter, and she had made contact with a reclusive author who wrote a book she thought I might be interested in. Actually, “reclusive” is too weak of a term; we both had determined that the author was in hiding. Contact was difficult and cryptic. Nonetheless, he and I got on the phone, and he figured that I would be someone he’d like to work with to get his book made into a movie, and I liked the deal, too. We sealed the deal without ever meeting.

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“Story-making”


Production is morphing into … what? Is it “filmmaking” if there’s no film? Are we “taping” a program if there’s no tape? Are they “films” or “movies” it they are viewed on a smartphone? Is it “Television” if it’s streaming online on demand?

The technology of production and the delivery methods are no longer pertinent to defining what creators do. We create. We no longer create things clearly defined as “TV shows” or “Movies” or “Web Series.” What we create is now going out on all of “The Blended Screens.” Some have called it “content” but I think that term is weak and too broad.

For me, I’ve decided it’s all “story-making” and that’s what I choose from now on.

MICHAEL R BARNARD PRODUCTIONS logo

MICHAEL R BARNARD PRODUCTIONS logo

 

Coffee joints for Writers & Filmmakers in NYC & L.A.


This is just for writers and filmmakers! =}

Writers and filmmakers are often hauling their laptops to coffee houses for writing and working. In New York and Los Angeles, there are many such places, but sometimes they are difficult to find.

Let’s build a list of coffee joints where we like to work.

Besides, we all love the adventure of finding a new place to hang out.

I recommend that you copy the info below, then paste it into a comment to this blog posting and let us know your recommended hangouts.

I’ll start adding some that I’ve found in both cities.

Here’s the form to copy and paste.

CITY:
Name:
Street:
Phone:
Website:
Twitter:
Facebook:
WIFI: [_]Free with purchase [_]Unlimited time [_]pay
AC outlets: [_]Many [_]Precious Few [_]none
Crowded: [_]Always [_]Seldom [_]Never
Atmosphere [_]chatting [_]boisterous [_]library
Crowd: [_]writers [_]tourists [_]mixed
Menu: [_]pastries [_]sandwiches [_]full menu
Price: [_]$ [_]$$ [_]$$$!
Comment:

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How to Start Writing a Screenplay


TYPEWRITER Photo by Florian Klauer

Photo by Florian Klauer

There are a lot of screenwriting gurus. That’s because there are so many people who want to write screenplays and are scared to death about doing it wrong. It seems that, for every 100 people who are afraid of the number of brads that must be in a script (two), the typeface that must be used (Courier 11 or 12), the right software (FINAL DRAFT for $$, CELTX for free), and every other element that they think is the key to the magic kingdom of screenwriting success, there are at least a couple gurus who have all the answers.

That’s all good, but it seems to me, from the comments I always hear from people who want to start writing screenplays, the ‘take-away’ is always wrong. The wrong “rules” are assumed to be the most important.
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My Bumpy Road Through “Hollywood” — THE MOVIE THAT NEEDS TO BE MADE


After working in television, radio, and video since high school, I eventually pushed myself into the indie film biz, which suited my creative and entrepreneurial nature. That involved me acquiring scripts and novels of other writers and trying to make them into movies. [UPDATED, see end of blog posting.]
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