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The Nines

Calling on the hive mind

May 22, 2007 Challenge, Projects, The Nines

beeOne advantage of having a brilliant and devoted readership like mine is that I can occasionally reverse the Q&A process and appeal for your insight. Here’s the situation…

At Sundance, I talked about my plan-slash-pipe-dream of releasing the underlying footage of The Nines simultaneously to its DVD release. Essentially, you could load it into your Avid or Final Cut system and it would show up neatly divided into bins. From there, you could cut your own version — or better yet, mash in other content to create something unique: *The Nines vs. The Grifters*, or *Donnie Darknines: The Koalapocalypse.*Just typing that makes me eager to shoot new koala footage.

Yes, you could do some of this just by ripping the DVD, but having the original material allows for much more sophisticated re-cutting, just as the a cappella version of Jay-Z’s The Black Album enabled a thousand remixes and reinterpretations.

There are legal and political hurdles to be sure, but all of that’s months away.

Right now, we’re surprisingly close to having an official trailer.Once the official trailer comes, you’ll find a link here, and no doubt a lengthy talkback on a certain site. After seeing vastly different approaches–comedy to thriller to existential drama–it became clear that no matter what the tone, there are approximately 15-20 shots which were in nearly every version of the trailer. Which is a pretty small number. Which raises a natural question…

Why not let people cut their own trailer?

Surprisingly, everyone who could veto the idea hasn’t. So I think we’re going to do it. But that means there’s a lot to figure out, much of which falls well outside my area of expertise. I know this blog has a significant readership beyond aspiring screenwriters, so I’m hoping that editors, web-heads and other folks with useful insight will de-lurk and offer some of their genius.

Format
====
My hunch is that most of these trailers will end up on YouTube, where the ideal input format is MPEG-4, 320×240. (**Update March 2011:** Outdated, obviously.) It’s certainly compact. The trouble is, editing systems like Final Cut would rather ingest almost anything other than .mp4. Which leads to my first question:

**1. What’s the best video format for sending out the trailer footage?**

We’re trying to strike a balance between a few competing goals. First, it needs to look and sound pretty good, both as edited, and ultimately, as re-compressed by YouTube. Second, it needs to be fairly compact, so that it’s feasible download (or torrent) the footage.I’m going to guess and say that we’re looking at about six minutes of raw footage, if that helps the back-of-the-envelope calculation. Third, it should be something fairly industry-standard. No doubt there is a clever proprietary format out there, but if it requires special plug-ins, people are much less likely to bother.

**2. One clip, or many?**

Would it be more efficient to offer one long clip (perhaps with chapter marks) or a folder of the individual clips? The latter seems more convenient — you could just drop it into your system as a bin. But does more clips mean more chances for things to go wrong?

Logistics
====
Beyond the video format, there are other questions about the smartest way to do this. Such as…

**3. Should it be a competition?**

I suspect many people would participate just because they thought it was interesting, but my experience with the [Scene Challeges](http://johnaugust.com/archives/category/challenge/) is that even a phantom prize gets a lot more people invested. Assuming the trailers end up on YouTube, would a standard tagging scheme be enough to help identify the contenders, or should there be a forum for people to list/hype their entries?

**3A. If there’s a competition, how long of a deadline?**

Assuming the footage came out on a Thursday, would the following Monday be enough time? I suspect there’s a sweet spot between enough time and too much time.

**4. What’s the best way to get the footage out there? Torrent? Download?**

I’ve barely torrented, and have never set up any seeding situations, so I’m almost fully ignorant on the best ways to make this sizable file available. (In coming up with solutions, you can safely assume we have almost no money to spend on this.)

No doubt there will be other smart questions asked amid the answers in the comments thread. If you’re addressing any of the technical issues, it would be helpful if you mentioned your experience, or provided links. Thanks in advance.

The Nines at Cannes

May 15, 2007 Parade, Projects, The Nines

In case you’re wandering La Croisette, wondering where all the interlocking three-part dramas with unexpected science-fiction elements are, you might want to check out The Nines, which has three market screenings scheduled this week:

* Wednesday, May 16th at 12:00pm – Palais K (Market)
* Friday, May 18th at 8:00pm – Palais K (Market)
* Monday, May 21st at 11:00am – The Deauville / Majestic Hotel (Market)

We’re not in competition — these screenings are just to give distributors in, say, Bulgaria, a chance to see the movie. I’m not there, A strange sentence: “I’m not there.” Obviously, I could never be “there,” since I am always “here.” It feels like the kind of contradiction that would have been pointed out to Alice in one of her adventures. so I have no particular insight on how to muscle one’s way into these screenings, except that persistence almost always pays off.

This is also a unique opportunity to see the movie with its sparkling new French subtitles:

MARGARET

Je suis à ça de t’avoir Christine Walsh pour Parade Magazine.

GARY

Je déteste Parade Magazine.

MARGARET

Tout le monde déteste. Le public de “Crime Lab” adore leur Marilyn Vos Savant. Fais-nous un petit acte de contrition, et peut-être qu’on tuera pas ton personnage. Va pas me faire un pétage de plomb...

GARY

Je suis pas fou.

MARGARET

Justement. Justement!

The Nines gets all domestic

April 11, 2007 Projects, Sundance, The Nines

RyanEver since Sundance, when I [announced](http://johnaugust.com/archives/2007/greenestreet-nines) that GreeneStreet scooped up international rights to The Nines, I’ve been faced with many questions. I knew the answer to the big one but couldn’t say. The answer to all the others depended on the first. So I’ve been sitting patiently, feigning detached acceptance, when I wanted to be shouting from the rooftops.

But since we [made it official](http://www.variety.com/article/VR1117962833.html) this morning, I’m now Mr. Answer Man.

Who’s releasing The Nines in the U.S.?
====
Newmarket. They’re the folks behind Donnie Darko and Memento. If you’ve got a challenging indie with geek appeal, they’re your distributor of choice.They’re also the folks behind Passion of the Christ, but I truly don’t think we’ll become a $200-million surprise blockbuster. Though there are thematic similarities… They’re partnered with Sony, who is handling all the home video/television stuff. Sony has done four of my movies, so I feel especially comfortable with them.

How long have you known?
====
Pretty much after the second screening. There were other players in the mix that first week after Sundance, so we ended up screening the movie all over town. But from my first meeting with the Newmarket folks, I strongly suspected it was going to work out. Did it take longer that I expected? Ohlordyes. As stressful as that legendary up-all-night Sundance dealmaking can be, at least it gets done quickly. The alternative is weeks of t-crossing and i-dotting, with multiple parties who always seem to be flying overseas. It was a marathon rather than a sprint, but the sales team for the movie (Rich Klubeck, David Kramer and Irwin Rappaport) got it across the finish line in great shape. The producers and I are hugely indebted to them.

How happy are you?
====
Very. The Nines is a movie which [some people love fanatically](http://popwatch.ew.com/popwatch/2007/01/sundance_jan_19.html), yet leaves other people scratching their heads. Newmarket has a great track record with this kind of film, and won’t try to market it as something it’s not. They’re small, and can give it the kind of steady nurturing it needs. As for Sony, they’re huge, and a giant home video distributor has a unique ability to get DVDs onto shelves. Whether the movie grosses $2 million or $20 million, I know that 99% of viewers will end up seeing it on a TV set. I want to make sure that it’s always available to be seen.

When can I see it?
====
How about tomorrow? We’re holding a special screening on Thursday night (April 12, 2007) in Hollywood. It’s mostly for vendors (the trailer-and-poster folk), but we have a limited number of seats available for readers of this very blog. It’s not a test screening; there are no cards to fill out. But we might email you afterwards to solicit your opinions on marketing matters.

If you want to come, here’s the skinny:

* Send your REAL NAME to… watchthenines@gmail.com…with the subject line “Thursday Night Screening.”
* Again, __you have to email__. Do not ask for tickets in the comments section, because you will be mercilessly mocked. I might even stick Yancy on you.
* All invites are you plus one guest.
* You need to be able to be there at 7:15 p.m., because it’s starting at 7:30 p.m. sharp.
* It’s first-come, first-serve. Don’t send in multiple emails. It’s not a lottery.But I will get Shirley Jackson on you if pushed.
* If you’re in, we will email you by 6 p.m. tonight (Wednesday) with details. If you don’t get an email, take heart — there will be more screenings.

(UPDATE: The email address is watchthenines@gmail.com, not watchforthenines. But both accounts are forwarding, so if you sent it to the latter, it will still go through.)

When is it coming to (insert town here)?
====
There’s talk of an early fall release, but some of that depends on a certain French festival which I don’t want to jinx by mentioning. Regardless, we’ll probably be a New York/Los Angeles exclusive at first, and then expand as the response merits. With this kind of movie, it’s entirely possible it won’t end up showing at your local multiplex. And that’s okay. That’s what DVDs are for.

When is it coming to (insert country here)?
====
The international release will follow the domestic release, but every country will be different. We’ll have more information on the [official site](http://lookforthenines.com) as soon as we know.

When can we see a trailer?
====
Dude, when can I see a trailer? I’m as curious as you. I’ve seen artwork for the international posters, which rock. So we’re off to a good start.

Renumbering when moving a scene

March 29, 2007 Formatting, Projects, QandA, The Nines

questionmarkLet’s say you are doing revisions and are dealing with scene numbers, and a scene gets moved up/down. How do you format the scene number?

Say scene 70 moves up in front of scene 69. Do the numbers read: 68, 70, 69? Or: 68, 68A, 69, 70 OMITTED.

Technically the scene still exists, i.e. was not omitted. What to do?

— Johnny

The second form is correct, though my AD’s prefer to use the letter before a scene number, for reasons I explained in an [earlier post](http://johnaugust.com/archives/2007/hollywood-standard). So I would number the scenes…

68
A69 (the scene you moved)
69
70 OMIT“OMIT” or “OMITTED”. Either is okay. (where the scene used to be)

With rare exception,One exception was The Nines, due to some complicated time-and-reality issues, which made normal sequencing too confusing. When revisiting an earlier scene, we’d put an X in front of the scene number. So, X48 was a version of scene 48. you always maintain scene number continuity. If you’re pretty far into pre-production, it may be helpful to include a note either with the script revision or on the page itself to point out the change, so a harried production designer (for example) doesn’t look at the “OMIT” and suddenly stop construction on a needed set.

The “OMIT” is a good place to put such a note:

70 OMIT [This scene is now A69.]

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