Timing is Important, but Story is King

LIVING IN THE

The motion picture industry understands how to time the release of a feature film. Studios block out release dates years in advance to make sure their blockbusters have little competition. Even independent films attempt to release during down screen times to minimize the competition. But there seems to be a group of filmmakers that are more concerned about the actual dates than the competition.

Faith-based filmmakers compete for release dates around Easter, convinced their audiences want to see a religious picture during the highly celebrated season. While that might be the case, past surveys consistently reflected that those who enjoy the faith-based genre are only willing to see 1.5 movies in a given month.

That means the first faith-based film released, with some level of fanfare during the Easter season, will take the audience out of the equation for other faith-based films. This year I Can Only Imagine released first and drew in $80MM, Paul, Apostle of Christ released second and drew in $17MM, and God’s Not Dead 3 drew in $5MM.

While a substantial consideration, it’s not always the release dates that make the difference. The above films happened to be released in order from best to worst story. Regardless, an overabundance of a genre’s films during a specific timeframe can quickly saturate a niche market.

Plus, the average moviegoer only watches four films a year. That means the person who watched I Can Only Imagine and probably watched Black Panther only has two more films left to watch. The faith-based film attender might hold off on another genre film to consider a summer blockbuster that their peers will discuss at the water cooler, and a Christmastime film for the entire family to enjoy.

When I’ve talked to producers of faith-based films, they’ve made it clear that they never consider secular competition. This is a peculiar situation since avoidance of thought never reduces the number of actual competitors vying for box office dollars. And, everyone in the industry knows that PG-13 films, which are typically aimed at some form of family, are watched by members of all faith groups.

Movieguide’s annual report to the industry points out how family-friendly films, with elements of faith and patriotism, always bring in more box office dollars than the competition. This has been consistently true since I’ve tracked it over the past 20 years. In fact, when the audiences of successful blockbusters are looked at closely, people who live by faith are the ones that make a significant uprise in the box office.

One could surmise, yet no one has taken that bold step to publish a thesis on the topic to date, that those who live by faith are the determining factor in a film’s box office success. If that is the case, then faith-based filmmakers should become masters of the craft in order to drive their films’ successes. And, those who live by faith must be educated in how their ticket purchase determines what films succeed.

Now, I’m not talking about forcing change by purchasing up tickets for bad faith-based films to spur on the genre. I’m talking about faith-based filmmakers learning how to tell great story. The audience will always promote a film with great story. Consider Black Panther as a perfect example of a great story that took off.

Some might say it was the black community that came out in droves to support the film, but I say that’s foolishness. Anyone tracking Tyler Perry’s career knows that he regularly draws the niche black audience, which doesn’t look anything like the audience watching the Black Panther. The story was great and therefore pulled in a great audience.

I’ve heard that there are 12 faith-based films attempting to position their release for next Easter. The one that will win the box office is the first best story released. The others will have dismal results. This begs a new question—Why aren’t the 12 faith-based films releasing one a month throughout the year?

The answer suggested to me last month by a faith-based producer went like this… “Faith-based films preach; they don’t tell story, so none of them can stand on their own without the churches pushing people to attend.”

While the producer sounded cynical, I’m pretty sure his comment has some merit. Film is a story-based, emotional medium that does not handle preaching well. Radio, on the other hand, is an ideal medium for preaching. Finding the right medium for the right message is crucial to reaching an audience.

Independent horror films use similar production processes as faith-based films. Instead of focusing on preaching, horror films focus on generating screams or startlement. Both typically generate about the same expense to box office ratio and few of either genre put story first.

A Quiet Place is a horror film with a message on parenting that is driven by story, not scream gimmicks. Because of its focus on story, the film should soon cross the $150MM box office mark. The key to the film’s success wasn’t being timed for Halloween, since it was released this spring, but the fact is the story was king, focusing on parenting children in a hostile world.

Release dates are important to avoid too much competition, but without story being the key focus, timing won’t matter.

Copyright © 2018 by CJ Powers

The Left-Handed Monkey Wrench

LH_Monkey_WrenchBack when I was a rookie, I was asked to chase down a left-handed monkey wrench. The AD said it was critical for the next scene and I had to find one at all cost. He was adamant about it and made it clear that he trusted me to get the job done. He told me not to bother coming back if I couldn’t get one into the hands of the Gaffer within the hour.

I hustled toward the car with several perplexing thoughts. My dad was left-handed and he never used a left-handed wrench of any kind. In fact, every wrench he owned could be used in either hand. I became suspicious in that moment and wondered if I was being targeted with a test.

Taking a left before I got to the parking lot, I snuck around to the generator and asked the Best Boy if he had ever heard about a left-handed monkey wrench. He chuckled and asked if I had overheard someone being initiated. I told him a couple people were talking about it and I knew no such tool existed, but I wanted to make sure. He said, “It’s an initiation, which means we’ll have a light day. If I were you, I’d change departments for the rest of the day and find someone to serve.”

I headed over to the props truck and told them that I heard they needed help. “Yes,” shouted the Property Master. “Today’s a light day, which will allow us to catch up and organize the truck for the next few heavy days we’re about to hit.” I dove in and worked hard.

Later that afternoon I bumped into the AD. He switched his smile to a firm, piercing look. “I told you not to come back unless you found a left-handed monkey wrench.”

“On my way to the parking lot I bumped into the Property Master. She was struggling to organize the truck for fear of not keeping up with weekly schedule. Knowing that your success is critical to this picture, I volunteered to help make sure the props department would meet with your requirements. I knew your success was more important than finding a left-handed monkey wrench, especially since our Gaffer is capable of getting the job done with just about any wrench.”

The AD smiled at me and nodded his approval. “I’ll see you back on my team tomorrow,” he shouted as he strolled away.

My initiation was over and I wouldn’t be tested for the remainder of the picture. Unfortunately several people walked off of the film because they feared being controlled like a child controls a toy or plaything. They didn’t understand the difference between a one time test to see what a person is made of versus a controlling personality that continually chokes life out of a project.

Since most people’s next meal ticket is based on the strength of their last picture, it’s important for all members of the production team to develop good boundaries so they do not succumb to a real controller. Unfortunately the person with the control problem is sometimes a department head, an investor-producer that doesn’t understand the filmmaking process, or worse yet, a rookie director who never learned how the creative process works.

What Real Controllers Want

The controller wants what you have because he or she lacks those valuable qualities. The most sought after quality is being able to feel good about yourself without having to receive a pat on the back from someone else. Controllers also hunt down those who are secure in their skin, accomplishments, and overall position in life.

And, if your attention makes others feel good, the controller will be all over you. In fact, if you can feel good about other people and aren’t intimidated by their successes, you’ll have a control target placed on your back.

Controllers find it easier to put others down in order to feel good about who they are. The higher the position held by a controller, the more likely he or she will carry fear, having been promoted to the level of incompetence or the unknown.

The only way to alleviate a disaster during a film production is to set healthy boundaries and use the established hierarchy protocols that allow all departments to function properly.

What Not To Sacrifice

All too often we let go of things that are important to us in order to survive the constant attacks from a controller. This forces us out of the life we were meant to lead and we slowly become something that no longer looks like us. It therefore becomes critical that we set healthy boundaries to protect our hearts and our future. And yes, that might require you walking away from or avoiding certain people while on set.

Some elements worth protecting include the understanding that your ideas and contributions matter. Another consideration to keep yourself strong is to stop others from pushing your buttons, belittling your accomplishments, or talking down to you. But most importantly it’s prudent to make sure you never become a doormat by allowing others to push your needs below theirs.

Oh, it’s okay for you to choose to put others above yourself, but it’s not okay to allow others to force you down to make sure their needs are met. Choosing to serve others from your heart works very differently than having someone guilt you or coerce you into meeting their needs.

The controller must not be allowed to manipulate you and put your career at stake. You must fight to maintain who you are regardless of what they do. It’s not easy, especially when the controller gets others to “help” prepare you for your next level. Those well-meaning people buy into the controller’s manipulation and do his or her dirty work to take you down a few notches in the name of preparing or strengthening you.

Unfortunately you might have to walk away from the well-meaning people to protect your heart and career. Once they realize that their help actually hindered or hurt you, they will try to appeal to your good graces, but it might not be prudent to allow them back into your life—a difficult decision that only you can make.

The next time someone asks you for help that pulls you from your path in life, make a mental note that they might be a controller or a controller’s enabler. Set your boundaries and make sure your valuable, creative assets are well protected. Then get on being the best you that you can be, while having a lot of fun in life.

Copyright © 2018 by CJ Powers

 

Launching a Story With an Inciting Incident

Most stories open with an attention-getting beat that reveals something likeable about the main character or the evil of the uber bad guy that he’ll face. This is followed by a series of scenes that demonstrate what the main character’s normal life is like. But audiences won’t hang on too long when it comes to emotionally flat experiences, so within a short time the storyteller must launch the main story using an inciting incident.

The inciting incident is a dynamic event or fully developed moment that radically upsets the main character’s status quo. The clear and obvious trigger throws the main character’s life out of balance. This action-based circumstance can either happen to the main character or be an unexpected ramification of a decision he makes.

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The inciting incident can be simple like receiving a letter, diagnosis, pink slip, or phone call. In Star Wars, the inciting incident was a hologram of Princess Leia asking Obi-Wan for help. Luke Skywalker was intrigued by her plea and decided that he was going to help her.

A successful inciting incident, not one that is stagnant or vague, drives the main character to make a decision that will change his life forever. The specific event places him on a story path of obstacles that turns his weakness into a strength. The event also raises the central question of the movie for the first time. In the case of Star Wars, the question is, “Will Luke help or save the princess?”

The single event must also cause the main character to clearly see that his life is now out of balance for better or worse. He must not only react to this positive or negative change, but he must respond as well. In other words, the incident must arouse a desire in him to restore the balance in his life, whether physical, emotional, or spiritual—or all three.

The main character is therefore compelled to pursue his new goal of rebalancing his life. This stimulation becomes both a conscious and a subconscious desire. The subconscious driving force comes naturally for a complex character and shows up in the form of him suffering from an intense internal battle, especially if his conscious desire is in direct opposition or conflict with his subconscious desire.

Some writers refer to this internal battle as reflecting the character’s wants versus his needs. Many times the human condition causes us to chase after our wants, only to learn that we got what we needed instead. This righting of the unbalanced internal desire presents itself in a plot twist on screen—allowing for a realistic ending, while still pleasing the audience.

The key to developing an inciting incident is to make sure it launches a compelling character goal that will hold the audience’s attention and drive the story. The goal must be something that the main character can’t discard, because if he does, lots of innocent people will suffer—developing empathy within the hearts of the audience.

The trigger must do more than make the main character care. He must take action. If he merely cares, the story will fail to cause the audience to care, hindering the film’s box office results. This makes the inciting incident an important factor in developing a feature length story. Unfortunately many independent filmmakers treat inciting incidents as an insignificant piece of the story and wonder why their film doesn’t keep the audience’s attention for its duration.

© Copyright 2018 by CJ Powers