Well, actually, this kinda straddles 2009 into 2010, but it’s the way I’d
like things to keep going. Right now, all signs are pointing to exactly
that.
Got an e-mail from a distributor who had been very interested in The Bunker.
This goes back a while, and when I first sent out a screener, it was
pre-film look and pre-full-score and it definitely had flaws. Still, the guy
seemed genuinely interested, and it wasn’t like I didn’t tell him the flick
was a rough screener only, so I sent it out. Well, this distrib’s overseas,
so for several weeks, I hear nothing. Nada. Not a peep. Initially, I was
figuring, “Okay, it’s gonna be a turn-down. No big deal. The film’s not 100%
finished, and there’s gonna be NOs along the way, that’s the way it is for
any filmmaker.”
But that wasn’t it. Turns out the first DVD simply went AWOL. Never got
there. After a while, I heard back, we rekindled our conversation about the
film, I had a new trailer (a much better one) to show off, and after putting
him off for a while until the film-look got done, I finally sent out a
second screener.
Time went by. I spoke with him about the work that was (supposed to be)
being done on the sound design, some corrections, little things that still
needed to be polished up before the film was 100% locked down. Then, of
course, as you already know if you’ve been following along, things happened,
I pulled out of the deal to use The Bunker as the premiere episode of a Euro
TV program, and I began working on a new framing sequence for the flick.
Well, earlier this year, we got an offer to distribute the film overseas,
and I had to turn it down because I want the movie right, and that’s gonna
require some additional shooting. Plus, with it looking more and more like
Visions of Sarah will be a GO for sometime this year, and the studio we’re
talking to targeting theatrical distribution, that’s reason enough to hold
back on The Bunker, until I’m happy with it.
So, out of the blue, on the final day of 2009, I receive an offer, from the
same guy who hadn’t received the first screener, (and, thankfully,
understood the second one still had rough spots). Technically, this is the
third offer to distribute the Bunker (although one of them was handled
behind my back, so I have no idea what it entailed.). Unfortunately, I have
to turn this one down, too, although it’s a good offer. And, rather than be
secretive about it, lest people think I’m just blowing smoke (because that’s
not my style), it came from Carlos Alperin at Galloping Films, which has
released a number of award winning films. Their deal is very attractive. I’m
grateful that Carlos has retained an interest in the film, despite the
numerous delays I wish I would have eliminated going back to 2007. But I can’t
change that, so I’m going into 2010 with Visions of Sarah creeping closer
towards getting made, two of my other scripts being looked at by indie
studios, and the promise of a very decent paycheck coming my way if the
script for Visions is sold.
And, of course, The Bunker. Once the financial details are worked out for
the Visions screenplay, I plan to shoot the wraparound, finish the ADR
required to fix the one remaining troublespot, and then contact Gary
Finneran’s family, to see about licensing the rights to his score and one of
his original songs through his estate. Not sure that’ll be the easiest thing
to do, as I’m not sure Gary even had time to copyright two pieces he’d
specifically done for me in the months before his death, but I’ll worry
about that when the time comes. My hope is that the older pieces were
copyrighted long ago, and that I’ll still be able to use them. If not, that
would be very disappointing, but again, just like with 2007, there’s nothing
I can do about that, so the plan is to try, see where it goes, and if not,
then I’ve got other musicians who would love a shot at filling those holes.
It was easy enough to find a really reliable post house to strip off the
subpar film look and redo that, and with the number of talented musicians I’m
in touch with, it isn’t as daunting a proposition as it would be if I didn’t
have these connections.
It’s early yet, and I’ve gotta be patient, but the movie stuff’s definitely
gotten a lot more promising since I began sending out the screenplays and
talking up film companies. Having Visions being discussed to these lengths
(we’ve been working on a deal with this studio for a few months now), is a
positive sign. So is getting a firm offer from a well-regarded international
distributor with very good terms and comments from the head honcho in charge
of acquisitions like, “I found The Bunker very well directed. Good
characters and plot.”
More positive quotes to add to the long list I’ve accumulated since sending
out the first screeners, and taking it out on the road to a couple of
conventions and fests. The good thing? Well, besides more positive reviews,
that is? That with Visions projected to have a much bigger budget and the
producers shooting for a theatrical release, if that movie comes out first?
It’ll definitely help The Bunker. The bad news? Well, that’s where the
being-patient thing comes into play again. Means I gotta wait a while longer
to release a film that’s already garnered three distribution offers. But the
way things are going right now? Little easier to be patient these days. A
budget that’s potentially twenty times what I spent on The Bunker? Maybe
even bigger?
Yeah, I can learn to wait. It isn’t like there isn’t anything else to work
on around here…
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Currently listening to Sentinel, by VNV Nation
