A few weekends ago I had my first opportunity to be on set for the short film that I alluded to many months ago.  It was an amazing but exhausting experience.  And if it was that way for me, I can only imagine how it was for everyone else!

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While I certainly don't consider myself an expert filmmaker, I've worked on enough films, and exchanged enough horror stories, to feel comfortable giving advice to other independent filmmakers. For this reason, I've decided to write a series of articles about independent film production, with the hope that they'll benefit others in the Beanywood community. Needless to say, these articles will reflect my own experience, so if something here doesn't seem right to you, go with your gut.

I decided to start with the subject of casting because I was inspired by Kevin Cirone's informative article, Rules of Engagement for the Acting World. I thought that having two articles about casting, one by an actor and one by a filmmaker, could be a good way for each group to learn more about the concerns the other has as they go through the casting process together.

I look forward to reading any comments from the Beanywood community. Moreover, if readers have any feedback regarding these articles, please feel free to contact me at any time.

INDEPENDENT FILM-MAKING
Pre-Production: Casting

    Contents:

• Audition Space
• Actor Search/Casting Call
• Scheduling Auditions
• Preparing for Auditions
• During the Audition
• Decision Time

Audition Space:

Let's assume, for the purposes of this article, that you're not using a casting agency. If you could afford one, you wouldn't be running around trying to find an audition space yourself.

Choosing a location for your auditions is more important than you may think. Why? Well, let's break it down:

First, let's think about the proximity of your audition space to the pool of actors you'll be targeting for auditions. Choosing a location in or near the city can make a huge difference for the following reasons:

1. When you're in the city, actors can reach you by car, by public transportation, or by foot. When you're in a suburb, or even further away, actors have to drive out to your location. This can make it more difficult for students and city residents to get to you.
2. The closer you are to the city, the higher the population is. This means you'll be able to find more actors who are close to your audition space. Some actors will drive for hours to get to an audition, but others have to contend with work, school, and family schedules, which means they can't necessarily afford to take half a day off for an audition.
3. People are much more comfortable driving to a place they know. Especially for young women, auditioning in the city -- at a theatre, for instance -- is a much safer prospect than driving out to a secluded area they've never been before.

Second, let's think about the type of location you'll want to use. Here are some things to consider:

1. Don't ever, ever hold auditions in a hotel room. I don't care if your parents own the hotel. It's creepy and inappropriate. While we're on the subject, don't hold auditions at your home, either.
2. You'll want to find a place that has a separate audition space and waiting area. This may seem pretty obvious, but you'd be surprised how many times novice filmmakers find themselves with a bunch of actors with nowhere to sit, cluttering up a hallway. Not only is this poor planning, it's disrespectful to the actors. Can you imagine wanting to work for someone who couldn't think far enough ahead to bring chairs?
3. If possible, try to find a location that has even a loose affiliation with the arts -- a small auditorium; a theatre; an acting school; a dance studio. You'll probably find your actors more relaxed in this type of environment than they would be at a law office or some other unrelated business.

Third, let's think about the actual room where you'll be conducting your auditions:

1. Make sure the room isn't too cramped. You'll want some distance between yourself and the actors who are reading for you. This way you won't be focused just on their faces; you'll get a better feel for their body language and their overall skill and comfort as actors.
2. You'll no doubt want to take notes during the auditioning process, so make sure to have a table or desk in the room.
3. Test out the sound in your audition space. If the actors in the waiting room can hear the auditions taking place, they'll be preoccupied with the thought of other actors listening in on their auditions, so they won't be at their best when they read for you.

Actor Search/Casting Call:

There are two reliable ways to find actors: first, you can go out and search for them, and second, you can ask them to come to you. My suggestion is to use both of these approaches.

Let's first tackle the prospect of actively searching for actors. Unless you want to roam the streets aimlessly, asking strangers if they can act, you've probably got three options:

1. Go to local screenings and performances to scout talent.
2. Get recommendations from other filmmakers and industry professionals.
3. Search online databases for local actors: when it comes to this option, my suggestion is to start right here on this site with the Beanywood Advanced People Search. As opposed to a lot of other online databases, Beanywood lets you do what casting agencies do -- a detailed search for a specific age, height, weight, hair color, etc. Always take advantage of the tools you've been given.

Now let's tackle the prospect of getting actors to come to you. How do you do this? By sending out a casting call. When you sit down to write it, make sure to include the following information:

1. The name of your production company
2. The type of project you're shooting (feature/short; drama/comedy/horror)
3. The shooting format (35 mm/16 mm/HD/DV): the more specific you are, the more organized you appear. Simply being organized and efficient can go a long way toward winning people over. Moreover, if you happen to be shooting on film, you'll certainly want to advertise this fact. Most actors will go to great lengths for the the opportunity to be in a film, as opposed to "just another DV movie."
4. Who are you looking for? (gender; age group; specific appearance; accents and other special skills): when it comes to things such as age and ethnic appearance, make sure to ask yourself if these factors are actually relevant to the character. If they're not relevant, then exclude this information from your casting call. Otherwise, you'll just be limiting your pool of actors for no good reason.
5. Is this a union or non-union shoot? If you don't include this information, you'll probably get about fifty e-mails asking this very question. Save yourself the headache.
6. Is this a paying job? If it's not, then just say so. Tricking people doesn't win you any points.
7. When will the film be shooting? Even if you don't have your production dates set in stone, it's good to include a ballpark time frame. Believe me, it's disheartening to discover a fantastic actor, only to find out afterward that he/she will be away for the month you'll be shooting.
8. Where will the film be shooting? If you're not shooting in the area, and there will be travel involved, you should be up front about that.
9. Is there any nudity required? If so, always tell the actors in advance, either in your casting call or when you contact them to schedule their auditions. Note: in my opinion, it's inappropriate to ask any actor to do a nude scene if he/she is working for no pay.
10. Your contact information: I'd include an e-mail address (where the actors can send their head shots and résumés) but not a phone number. If you include a phone number, you could easily end up with a hundred voicemail messages from people you're not even interested in auditioning.

Next, let's think about the format of your casting call. While there isn't any sort of industry standard for a casting call, you should always remember a few things:

1. Write professionally, and use proper English (assuming you're targeting an English-speaking audience): I don't care if you're bad with grammar and spelling. Have someone else look it over, and use the spellcheck function in your word processor. If you write like an amateur, you won't be taken seriously, and you shouldn't be.
2. Write in 3rd person. "7 Fluid Oz. Productions LLP is seeking actors for its upcoming film" is simply more professional than "I'm looking for actors for my film."
3. Don't embellish. This won't help you. I don't care if you think this is "the best script ever." You don't put that in a casting call. I don't care if you're absolutely sure that the film is going to get "tons of exposure." Have you actually signed a distribution agreement? Have you already been invited to screen your film at prestigious festivals? No, I didn't think so. So please, don't waste anyone's time with outrageous statements. If you've had success with your previous films, then go ahead and put that information in the casting call. If your films have won awards or been released on DVD, then that says something about your work.

Here's an example of a professionally written casting call:

Unnamed Productions is seeking actors for its upcoming feature-length dramatic thriller. The film will be shot on 16 mm, in the Boston area, over a period of 3 weeks in either June or July.

Needed: Males (18-50); Females (18-40) -- martial arts training preferred, but not required.

This is a non-union shoot with some up front pay for leads, but mostly deferred.

If interested, please send your head shot and résumé to cast@unnamedprodco.com.

Unnamed Productions' previous work has been released on DVD and screened at six film festivals, including the Newport International and the Tribeca Underground. For more information about Unnamed Productions, please visit www.unnamedprodco.com.

So, it's time to send out your casting call. But where? Well, here's a list of sites that I've had a lot of success with (most of which you'll also find in Kevin Cirone's Beanywood article, Rules of Engagement):

1. beanywood.com: in addition to the Advanced People Search, Beanywood's Forum has a "Jobs/Gigs" section where you can post cast and crew calls.
2. boston.craigslist.org: there's a "tv/film/video" category for paid jobs and a "talent" category for no/low/deferred pay gigs. Posting in the "tv/film/video" category costs money, so unless you have a significant budget, I'd skip this one. You'll get plenty of responses from the "talent" category.
3. nefilm.com: good exposure, but it's worth noting that casting calls can take up to a week to get posted on the site.
4. netheater411.com: mostly for theatre actors (as the site's name would suggest) but still a valuable place to advertise.

Scheduling Auditions:

It's time to think about scheduling your auditions. Here are some things to consider as you get ready to set a date and contact the actors you've targeted:

First, you'll need to choose a day and time:

1. If possible, hold auditions over the course of at least two days. This will give actors with scheduling conflicts a better chance of attending your auditions. Also, this will give you the opportunity to consider your own work during the first day of auditions, and then alter your technique, if you feel it's necessary.
2. In my experience, Friday/Saturday or Saturday/Sunday auditions tend to work the best. Not only do most people have the day off from work and school on weekends, it's often a little easier to find an audition space then. Now, you may ask yourself, "Don't people like to go out and relax on the weekends?" Well, that's true. In most cases, though, an actor will skip out on an afternoon with friends in order to audition for a film -- and if they'd rather go to a bar than an audition, they're probably not the kind of people you want on your set.
3. Don't schedule your auditions on a holiday or a holiday weekend (this also applies to spring break). Not only do people go away for certain holidays, it's a little presumptuous to ask someone to skip Easter Mass or a Passover Seder to come audition for your movie.
4. If you hold auditions on a weekday, don't start until the afternoon (most people work for a living).

Second, you'll need to schedule times for your actors. Simply telling them that auditions are between ten and five is a bad idea. While actors are rarely treated as such, they are, in fact, human beings. Being forced to sit around indefinitely is frustrating and exhausting. On top of that, people do better work when they feel respected. Showing regard for the actors' time is an important first step in building a solid working relationship.

So, here are some things to consider when building your schedule:

1. Call your actors. Don't e-mail them. Why? First, talking to someone can give you a better feel for his/her demeanor than exchanging e-mails. Casting means more than simply finding good actors. It means choosing actors with whom you'll work well. Second, most actors will have questions for you -- questions about the production; questions about your experience; questions about the characters in the screenplay. It's easier to answer these over the phone than it is to answer them by e-mail, especially if your answers bring more questions.
2. Make sure that any actor under the age of 18 is accompanied by a parent or legal guardian. As a matter of fact, you should speak to the parent before you even schedule his/her child for an audition. The last thing you need is an angry parent making your life miserable.
3. Try to schedule specific times. In my experience, four actors per hour is a good pace. Each director works differently, but I find that fifteen minutes gives you ample time to see what an actor can do.
4. Send your actors directions to the audition space. This makes their lives easier; it shows them you value their time, and it reduces the chance of people showing up late, which can throw off your schedule.
5. Send your actors sides from the script. Not having to go in for a cold read helps an actor's audition tremendously. Despite this fact, sending out pages scares a lot of directors, and for the life of me, I can't figure out why. If you're that terrified about someone stealing your material, just register your script through either the Writers Guild of America or the U.S. Copyright Office.
6. Many actors will ask if they should prepare a monologue. It's entirely up to you, of course, but I've never found this particularly helpful. Chances are, the actor is going to show up with a monologue that plays to his/her strengths. What's important, though, is how capable the actor is of tackling the material in your script. Assuming you're sending the actor pages from your script ahead of time, a prepared monologue shouldn't be necessary.
7. If the actor is under the age of 18, make sure you send the script to the parent. This way the parent can look through the script for adult material before hading it off to his/her child. If there is adult material, try to find a way for the child to audition that will satisfy any concerns the parent may have. For instance, if there's adult material in the script, but none of it is in a scene with the child, you can make sure that the child only sees pages from his/her scene. Moreover, you can make sure the child is never on set while the more adult scenes are being filmed.
8. Give the actors a cell number they can call if they're running late or have to cancel their audition. This will make your life a lot easier.
9. If it's going to be a long day, make sure to schedule time for lunch and/or dinner. This may sound obvious, but in the excitement of scheduling actors, you might be surprised how easy this is to forget.

Third, many directors like to hold callbacks so they can have a second look at their best prospects. While this isn't always necessary, it can certainly be a lot of help. Once you've picked your cast, you're stuck with them. It's best to be sure you've made the right choices.

Preparing for Auditions:

All phases of film-making require plenty of preparation, and audition day is no exception. So, what do you need to do?

1. Print out extra copies of your script. Obviously you'll need scripts for yourself and everyone working with you during the audition process, but it's always good to have extras. As a matter of fact, you might want to have a few copies sitting in the waiting area, in case an actor has trouble printing out a copy before leaving for the audition. It's also a good idea to keep extra copies in the audition room because actors can unintentionally leave with one of your copies.
2. Have scripts available with highlighted dialogue cues. This will make the actors' lives easier. Now, many directors don't like to do anything that feels like "babying" an actor. There's a big difference, though, between babying someone and simply making his/her job easier. The cast's job is hard enough, and the goal is to get the best performance out of them you possibly can. Anything you can do to facilitate this is worth your consideration. Besides, if you want to see what an actor can do under pressure, you can always have them read a few pages cold, and also improvise a little during the audition.
3. Print up an audition form for the actors to fill out while they're waiting to read for you. Audition forms are a fantastic way to collect information without having to waste valuable audition time. Here's a list of information worth collecting on the form:
   • Name
   • Mailing address
   • Home phone number
   • Cell phone number
   • E-Mail address
   • Emergency contact information
   • Food/fabric/other allergies (this could affect craft services, wardrobe, etc.)
   • Availability during the expected shoot dates/rehearsal times/callback dates
   • Is he/she under 18? If so, is a parent/guardian here? (If not, don't let the actor audition.)
   • Is there any material in the script that makes him/her uncomfortable?
   • Any other questions/concerns?
4. Bring water and cups for the actors. Actors' throats can dry out while they're auditioning (especially if they're nervous). Having water for them is practical, and it once again shows that you're attentive to the needs of people working for you.
5. Print up signs to hang in noticeable areas so the actors know they're in the right place. Don't make your actors wander around the building, wondering if they're lost.
6. Have a video camera available so you can tape the auditions. Not only is it helpful to review the auditions when making your decisions, it's important to see how actors look and come across on camera. It's often very different from how they appear in person.
7. Establish your casting team. While the director almost always has the final say when it comes to casting (at least on an independent film) it's important to have a team with you during the auditioning process. You'll want other people (usually the producers and/or a casting director) there to help you evaluate the actors' performances. Sometimes they'll pick up on things you don't notice. In addition, you'll want someone there (a casting director/assistant, most likely) to read with the actors so you don't have to do it. Having someone with previous performance experience can be a big help.
8. Try to have both men and women on the casting team. Ask any actress, and I bet she'll have a story about showing up for an audition, only to find a couple of sleazy guys leering at her during the whole audition. Having a woman present can certainly help put her mind at ease.
9. Define your team's roles ahead of time. In some cases, only the director will work with the actors, while the other members of the team will observe. Some directors, on the other hand, like the producers and casting director to be actively involved. Whatever you decide, make sure everyone is on the same page before your first actor comes in to read.

During the Audition:

It's audition time, so what should you keep in mind as actors are reading for you?

It's important to know how actors respond to different kinds of pressures. For this reason, I suggest including the following elements during the audition:

1. Begin with the material you sent them. Your actors are most likely going to be nervous going into the audition, so why not try to make them comfortable? Give them a chance to work with material they already know so you can see what they're capable of when they have the opportunity to prepare for a role.
2. Throw in a quick scene the actors have never read so you can see how they respond to a cold read. While casting a film based on cold reads can be dangerous, there's definitely merit in the cold read. Chances are, you're going to end up changing dialogue and altering some of your scenes during the shoot. A cold read will help you see how quickly actors can absorb new material.
3. Try some improv. This is a great way to see if an actor can think on his/her feet. Moreover, watching the actor improvise gives you the opportunity to see how the actor has interpreted his/her character from the script. This can be useful both in casting and in determining how an audience may interpret the character based on the current draft of the script.

Whether the actors are good or bad, make sure to give them direction so you can see how they respond. Sometimes an actor will butcher an initial reading, but then improve greatly with direction. On the other hand, an actor can at first appear very good, but with a little direction, it becomes obvious that he/she has no range at all.

Taking notes about the actors can be helpful, but don't spend too much time looking down at your notebook. You may miss some of the subtleties of an actor's performance. On top of that, an actor's performance may be pleasing to the ear, but that doesn't mean the physical performance is any good.

Decision Time:

There's no way for me to tell you who to cast (and why would you want me to?) but I do think you should keep a couple of things in mind as you make your final decisions:

1. Sometimes it's obvious who you're going to cast in a given role, but if it's not, don't necessarily cast the actor who came the closest to your vision of the character. If you're having a hard time deciding between two actors, you might want to cast the actor who responded to direction better, even if he/she didn't nail the audition. You and the actors will have plenty of time to rehearse both off and on set, so your actors don't have to be perfect during the audition. What they need to be is capable and able to take direction.
2. Personality is extremely important. When you're shooting an independent film, you don't have the time, energy, or resources to deal with a cast or crew member who's going to be egocentric or otherwise problematic. On an indie film, it's important to surround yourself with team players who won't desert you when the going gets tough, and who won't monopolize your time with trivial matters. After all, you're all there to work hard and make the best film you possibly can make.

I hope this article was helpful. Once again, I look forward to your comments.

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Do you remember the first time you saw a Monet or a Kandinsky or a Schiele?  You probably thought to yourself, "My god, that's beautiful.  And you know what?  I could probably do that, too.  And I wouldn't even need any training.  That's just how good I am."

Do you remember hearing The Beatles for the first time?  Or Nina Simone or Igor Stravinsky?  You probably thought, "Man, that's some good stuff.  And I bet I could pick up a violin or a guitar and just know how to play.  I could look at an instrument and grasp the fundamentals of music theory, orchestration, and four-part harmony in a flash.  I mean, how hard could it be?"

What, this never happened to you?  Huh.  Me, either.  So, why is it that so many people these days are picking up digital-video cameras and shooting movies despite knowing nothing about the art and craft of film-making? 

Now, please don't get me wrong.  I'm not bashing amateur filmmakers, and I'm certainly not bashing the concept of learning by doing.  As a matter of fact, I'm a fan of both.  As a founder of the Boston Motion Picture Awards, I've seen some rather amazing films from student and amateur filmmakers.  My problem is not with artists or craftspeople who are early on in the learning process.  My problem is with people who think they can produce quality work while bypassing the learning process.

"Yeah, but what about artists and musicians who are self-taught?" I often hear.  Well, stop for a moment and think that question through.  "Self-taught" implies some actual teaching.  Great self-taught artists and musicians rarely sit in a room and practice without any other source of education.  They go to concerts and watch musicians play; they go to museums and study the color choices and brush strokes of master painters; they listen to the works of great musicians and try to recreate the music on their own instruments.  They absorb as much information as they can, and they do it actively.  They don't assume that because they go to the movies once a month, and because they can quote Ghostbusters from start to finish, that they've somehow studied film-making.

"Yeah, but there are no rules in art, you know?  Besides, I like to break the rules."  Okay, well, if there are no rules, then you can't break them, but let's put that aside for a moment.  There's nothing wrong with breaking the "rules."  Most of the great artists do.  These great artists, though, study color theory or music theory and make a conscious choice to do something different--to surprise their audience or force the audience to re-learn how to look at a painting or read a novel.  Great artists work hard to perfect their craft; they educate themselves in every way possible so they can get better at what they do. 

So, what is it about film-making that's so different from other arts?  What is it that makes so many people think that you don't need any experience or education?  And this isn't a rhetorical question.  I'd really love to know, so if anyone out there has any thoughts, please add a comment or send me an e-mail.

In the mean time, I have this to say: to all out you out there who are working hard at your craft, I commend you.  I hope you'll continue working hard, and I hope you find success.

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Sam Weisman: A Wolf in Directors Clothing
Written by a Sheep in Wolfs Clothing (Susan H. Davis)

    Last week I traveled down to Woods Hole to hear Sam Weisman speak about
directing. Three hours there and back, from the north shore, through Bourne
bridge traffic.
"This better be good", I thought.
Honestly, I was open to anything. Why else would I be there, stuck in
traffic, sucking in fumes?  Under the guise of a producer to hear a
director¹s point of view, I wanted to hear why a "Hollywood² or studio
director would come back to his roots to settle here in Ma.

Disclaimer- All information into the writers mind is subjective and diffused
through a myriad of lenses, so my apologies upfront, Sam, as I had my
selective filter on, but here were the things that stuck in my mind:

    Sam on basics: Sam started the workshop by recapping what a director
does on set- Directing 101. The main ideas being that the basics are ever
changing, wavering a bit here and there depending on the size of the
production. Hidden in the technical details were personal anecdotes, gems of
Sam¹s personal experiences. These were what I wanted to hear, what I had
come for, for even though one can find the technical details of directing in
a book, the life experiences of one who spent years in the trenches are, to
me, what's invaluable.
    
    Sam on actors: The director has to understand how to get the best acting
out of the actor. Even if this means cheating the actor into believing the
cameras are turned off as the film rolls away capturing the perfect moment,
unbeknownst to the actor.
The purer the actor is the one who at least tries, take after take.
The bigger the celebrity is the one who repeatedly says 'No' to trying out
the director¹s suggestions.
The best actors are the ones that state the positive when requesting
changes. The best way to get the best performances are to get the best
actors, and according to Sam, the best world is where the director has the
pleasure of being the audience, as the actor does his/her magic.

    Sam on the Assistant Producer/or the UPM: Often hired by the Line
Producer or studio, the 1st Assistant Producer helps to control the money,
who in turn controls the director. Try to hire your own, if you can.

Sam on diffusing the negative: The director has to be a psychologist,
friend, father, mother, dictator, etc., all these things on set. The
director has to eliminate the negative as quickly as possible between
essential creative crewmembers by cutting to the quick. If problems get
debated five minutes or more per take, or hour, one loses an hour or two a
day for shooting.

    Sam on unruly outsiders on location, who are disturbing the shoot: Let's
just say that after a myriad of tries to get folks to shut up who insisted
on blabbing through a shoot, (but who had every right to be next door to the
shooting location because they owned the property, but were paid already for
the inconvenience), sometimes one has to fake a commotion to get the unruly
bastards taken away by the NYC cops on location. Guts. For this Sam gets the
ŒWolf in Director¹s Clothing¹ award.

    What I came away from this workshop with was that one of the successful
traits of a good director is someone who can diffuse a negative situation
immediately, thinking on his/her toes...for time is money, and time is
creative energy spent, rarely to be regained, or regained at quite an
expense. At the end of the workshop Sam was concerned that he was being too
negative, maybe because his experiences were tainted with overcoming the
daily problems and pitfalls of directing. On the contrary, the reality of
overcoming the minutiae as positively as possible under the ever-changing
daily landscape of filming shows the ability to be flexible, and more
importantly to get the job done at all costs. Thanks, Sam, for the reality
check. Isn¹t that why I was there? There is nothing sugar coated about a day
of hard work, and much to be learned from his experiences. And why was I
there under the guise of producer? Because I was the sheep in wolfs
clothing...a first time producer, learning to build up guts. Why did Sam
move back east? He answered this right up front..."to have a better life".
With all the benefits for filmmakers in the MA. film industry right now, and
all the amazing talent, locales, and crew, I couldn't agree more.

Written by Susan H. Davis

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Dystopia (n.) a fictional, and often futuristic, society that lives under the control of an oppressive government.

Perhaps I'm wrong, but it seems to me that almost all dystopian-based films, no matter how good or bad, develop at least a cult following.  There are plenty of horror films, sports films, and romantic comedies that fly under the radar, but when a dystopian-themed film is made, it almost immediately develops a legion of devoted fans.

Let's take The Matrix franchise and the Star Wars prequels.  I'm glad these movies have come and gone simply so I don't have to hear someone tell me that they're the greatest movies ever made.  This isn't to say that I have anything against dystopian films.  As a matter of fact, I'm a big fan of them.  The original Star Wars, Blade Runner, A Clockwork Orange, The Terminator, Metropolis, The Cabinet of Dr. Caligari: these movies are fantastic.

What is it, though, about dystopian films that causes fans to latch onto them with the same conviction that one might have for a religion?  Is it as simple as the human desire to fight authority?  Perhaps it has more to do with dystopian films echoing the themes of ancient myths and texts (the Israelites overcoming the Pharaoh or the Babylonians, for example).  Many dystopian films are meant to comment on current political issues, but is this commentary reason enough for such extreme devotion to a film?

If anyone has thoughts on this subject, I'd love to hear them.  As a matter of fact, I've been on quite a dystopian film kick recently, so if anyone has recommendations, please let me know.

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Last week, there was a front-page article in the Boston Globe about Emerson College's expansion of its Hollywood program.

That's good for Emerson, but the expansion of the program is based as much on fantasy than reality, and it comes at as time when film production activity, both from within and without the State is increasing.
It is true that Emerson's program has increased and improved over the last twenty years (I taught there at the beginning of the expansion) and a lot of Emerson alum have moved there. Many are happy (although they miss the New England seasons), but others find themselves at entry level, menial jobs that are abundant out there, but are not professionally fulfilling.

Hollywood hasn't changed much since Nathanial West wrote his devastating critique of Hollywood in DAY OF THE LOCUST. But then, in l939, Hollywood was at least centralized and working locally. Now, there is very little activity there. Last Thanksgiving, when I last visited, there was an op-ed piece by LA's mayor pleading with film people to stay. Hollywood has become increasingly decentralized, what with film production being done every place but in Hollywood.

Why go? Maybe to see for oneself, only to return in four or five years. But, although I think it might be a bit premature for Beanywood to announce the Boston has become the intersection between Beantown and Hollywood, the area offers promise. With at least four major Hollywood productions being shot in the state before the end of the year, and no fewer than a dozen local productions (what with the new tax incentives which now begin for local indie productions starting at $50,000). Beanywood and the group making "12" (see an earlier blog) are actually projects to promote filmmaking in Massachusetts. On top of that, there is Paul Sherman's book on the history of filmmaking in Massachusetts.And there is Nick Paleologos, the new head of the State Film Office, a man with perspective, experience and contacts, to oversee the Renaissance.

In short, just like thirty years ago, when it was great to be a filmgoer in Boston (what with the Orson Welles, Off the Wall and the Central Square) the end of the first decade of the 21st century will mark a period where it will be great to be a filmmaker in Boston.

So before you glassy-eyed Emerson grads head west, take a closer look at what's going on around you. No matter what, Hollywood has become largely decentralized, and Boston is on the way back.

For more of David Kleiler's Independent Thoughts head over to Local Sightings where you will find an abundant blog archive http://www.localsightings.com/thoughts.html