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July 14, 2007 Africa, News

[Malawi Map](http://en.wikipedia.org/wiki/Malawi)I’m back from Africa — physically, at least.

Mentally, I’m still floating somewhere over Dakar. The potent combination of jetlag and unprocessed emotion is making it very difficult to commit to that last leap over the Atlantic. I was only gone two weeks, but it felt like months. Like an alternate timeline, with extra days slipped between seconds.

Like Narnia, but with smoke, orphans, and red dirt.

It’s not that time dragged. Every minute was full, from the dark blue hour before sunrise when the overachieving rooster would start his business, to the hour after dinner, when a casual conversation with the program founder would reveal an unexpected, mind-blowing twist. For the first time in 15 years, I wore a watch, only to look at it in amazement as I went to bed at 7:30, exhausted.

At least twice each day, as Ryan and I were painting a mud brick wall Bermuda blue, we would look to each other and say, “Hey, do you remember when…”

Inevitably, we were referring to something that had happened just the day before.

Like all great trips, so much had happened so fast that it became difficult to keep events straight. More than that, the Now was so overwhelming, so emotionally dangerous, that there wasn’t an opportunity to process. I’ve never kept a journal, but for the first time I found myself making bullet points of the day’s events, just to clear them off my mental blotter. Like a to-do list in reverse.

I’m working to get photos up on Flickr, but in the meantime, I’ll offer one short video clip. No single example is going to sum up the whole experience, but this gives some sense of why I’m still somewhat stuck in Malawi.

I talk with my hands

June 2, 2007 Film Industry, Follow Up, Resources, Video

Back in March, I was a panelist on a [Writers Guild Foundation](http://www.wgfoundation.org/) forum about publicity — specifically, how film and television writers should approach promoting themselves and their work through the media. As I [wrote at the time](http://johnaugust.com/archives/2007/publicity-101), it seemed to go pretty well.

This afternoon, I was ego-Googling and discovered that clips from the seminar are [available on YouTube](http://www.youtube.com/watch?v=lQsLCqho8_o):

The audio’s not terrific, and so you’ll probably need to turn your speakers up. This is the main section with me; there are two [other](http://www.youtube.com/watch?v=7rNu3rAlCUc) [parts](http://www.youtube.com/watch?v=TV473Sbo2og) focusing on other panelists, which you can find if you click through to the main YouTube site.

Chris Day, the head of publicity for UTA, references a memo I wrote around the time of [Big Fish](http://www.imdb.com/title/tt0319061/). You can find a .pdf of that [here](http://johnaugust.com/Assets/pub_goals.pdf).

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.

Hello, Residuals

May 10, 2007 Film Industry, Video

When the Apple [iPhone](http://www.apple.com/iphone/) commercial began airing, my first thought was that I wanted one. My second thought: How much will I get in residuals for the one-second clip from the first [Charlie’s Angels](http://www.imdb.com/Title?0160127)?

The answer came yesterday in a [big green envelope](http://johnaugust.com/archives/2004/big-green-envelopes): $86.50.

UPDATE:

Because you asked, here’s the original scene as written:

Her cell phone RINGS. She answers it.

NATALIE

Hello?...Pete, hi! How are you?

INT. HOTEL KITCHEN – DAY

Pete is on break from another catering job.

PETE

I’m good. I just -- You said you wanted me to call.

INT. TOWER OFFICE – DAY

Natalie keeps checking the shelves, looking for a secret switch.

NATALIE

I did. I do. I mean, thank you for calling.

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