Small Fish and a Promise

The latest series of events in Stunt People history have made it painfully obvious to me that you have to be a huge player to get any momentum in the entertainment world.

*Materials – Getting a printing company to make 1,000 DVDs on time when their regular clients print 50,000 is like pulling teeth. Printing 1,000 units through a smaller printing company will cost you far more since it’s not as streamlined and requires more man-hours.For example, I’m trying to make DVDs and the people at the press are utterly unresponsive after running into multiple errors with the discs and hard drives I sent. I’m not convinced these are my errors and I’ve seen no attempt on their parts to figure out what to do next, but since they’re not making much money from this deal compared to the 50,000 disc runs they’re used to, they have no incentive to respond to my emails very quickly. I’ll end up on the phone with them today, probably a lot.

I recommend kunaki if you’re doing single-layer DVDs or CDs. Quick, cheap, and easy.

Distribution – If you’re indie, you rely on a core, fan audience, but once your film is done, sales agents tell you not to make too much noise, for fear of hurting international sales. If international distributors get word that your film is “old” or has been released already, they may drop their deal. The alternative is to stay silent and avoid getting too much press for your film, and avoid showing it to people until some distributor picks it up, which these days might take *years** . Getting people to review your film and showing it to the world before its eventual release requires stealth and will result in a lot of aches and pains.

For example, I went ahead and edited the IMDB listing for my last feature film (starts with “cont” ends with “or” … see that shit? stealth, though don’t be surprised if I have to edit this damn blog too now) to give it its new alternate title. An hour later, our distributor contacted me saying, “Hey just a quick note, just in case you’ve been telling people about the old title of the movie, don’t give out that information, because it will kill the film.” When I told him about the IMDB update I made, I think he had a heart attack. Currently I’m trying to cancel that, which is incredibly difficult if, again, you’re a small fish. *Being Talented – If you’re talented, and you make a big splash, the way The Raid has, you’ll get noticed. Then you become a big star, right? No. You get hired to work behind the scenes on the remake of your own film.

This isn’t meant to be a bitter blog post. It’s a snapshot of how the industry works, and why only the hugest conglomerates survive. Conglomerates are no more evil than Manzanita in California or killer whales in the Pacific, or mold on your bread, they’re just the things that survive. And I’ve got no interest in fighting the system because, like it or not, we’re all knee-deep in it. In fact I like the system. It made many of the world’s best action films.

The big guys are, however, sweating. The market is volatile as ever, and the people in high positions are clinging to their spots, which explains why nobody would ever just GIVE Evans and Uwais starring parts in a new film. Since the studios can’t make action films like The Raid, they just co-opt the people who can. And being co-opted is a valid decision, because the alternative is a lot of cancelling IMDb changes, sneaking around while trying to release your film to your fans, fighting with disc printers to get your stuff done on time, and making roughly 25% of the salary of a stuntman. It’s not glamorous by any means.

But that hasn’t been the decision for me and I don’t plan for it to be in the future, despite opportunities that have presented themselves. I like the stuff I do, I like my audience, and through all this I’m still convinced that this is the best way to do it.