So You Want to Make a Movie - The Festival Circuit

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

19. The Festival Circuit

Over the past few years, the number of film festivals has exploded. Today, you can find film festivals playing everywhere from college campuses to small and big towns. But, in reality, there are only a few that really matter. Sundance, Toronto, South by Southwest, Cannes, Tribeca and Berlin International Film Festival are the big players. This is where you are going to find the distributors, buyers and film critics necessary in helping you to make a deal.

Of course, the number one reason why you as an independent producer and filmmaker spend the time and the money exhibiting your film in festivals is for a distribution deal. It used to be that if you were accepted as an Official Selection at the Sundance Film Festival, you were practically guaranteed a distribution deal. That’s not true any longer. Today excellent films that play at Sundance are being bypassed. There are no longer guarantees that playing the festival circuit will get you to the Promised Land. Today, you just have to think of it as one tool to get your film noticed.

There is a significant amount of resources from books to videos that can help you to formulate a film festival strategy. So I am only going to hit a few high points. First, you want your film seen. Second, you want to get your film reviewed. And finally, you want to create some kind of buzz about your film. Film festivals are still the best option to achieve those goals. In order for that to happen, you need to get into the right festival. Remember, there are hundreds of film festivals, and they come and go like the the wind. Some are just a total waste of your time and money.

The big festivals are very difficult if not impossible to get into. You will need a big time actor or a director who has a good reputation. If you are lucky to get into a big festival, you might be assigned a 9:00 a.m. showing—not exactly the best time. This could kill your movie. On the other hand, small or mid-size festivals could feature your film on an opening night allowing you to make a big splash.

Do your research. Know the types and varieties of festivals. Go after a few that you think would be a good choice for your film. For example, if your film is a western, look for festivals that specialize in showing the western genre. Do you have any contacts or know people who work within the festival circuit who can help you? Find out the names of the festival directors and managers of the film festivals you are most interested in. The more you know the better. Festival directors are a rare breed. What they want most is a chance for a world premier. They love to discover films and find the next big thing. So use that to your advantage; however, once you give your world premier away, it’s gone forever. So it’s a big decision which festival you start with. It could lock you out of other film festivals because you can no longer offer the one thing that festival directors love the most - a world premier.

So You Want to Make a Movie - The Sound Edit

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. There is no shortage of books, videos, and online resources to help get you started. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 18 - The Sound Edit

The sound edit is one of the major areas of the entire filmmaking process that is often overlooked by first time filmmakers. What makes a movie “a movie” is the sound track and sound effects. Without it you don’t have a film. Most editors are good at editing pictures but are not experts in sound; therefore, you need a sound editor. The sound editor is responsible for editing a soundtrack that includes dialogue, sound effects, and music score. The process involves creating multiple sound tracks layered on top of each other. The mix is essential in developing a dimentional sound and direction.

Chances are the sound you captured in the production process will not be sufficient. That means you will have someone to do foley, which is the process of creating sound effects. For example, when someone walks across the floor, we expect to hear the footsteps. During production, no matter how hard you try, you will never capture this sound effectively. It must be created in the post-production process. Just remember this, usable sound isn’t recorded, it must be manufactured.

You also are going to need a composer to create a sound score for your film. Music is essential for creating the emotional impact for each scene of your movie. Can you imagine watching a movie without music? It would be unwatchable, boring, and devoid of emotion. Most large churches have music directors who are capable of composing music. More than likely, they would love to have an opportunity to write a music score for your movie. The key to being a good producer is finding alternatives to the expensive process of making a movie, and that no truer than in the post-production phase.

Editing is a tough process with a lot of hard decisions. You are going to have to trust your editor. Knowing where to cut is essential. A frame here or a frame there can make all the difference. Whether you’re the producer, director, or writer of your film, sometimes you have to be willing to have your favorite scene to be left on the cutting room floor. Just because you shot 130 minutes of footage, you don’t have to use all of it. Your editor should be good at knowing what kind of pace and rhythm your film needs to be successful.

Based on the money you have, you can’t hire a fulltime editor. That means that your film editor and sound editor will have day jobs. They will have to work on your film during the evening or on weekends. For good or bad, this is going to extend the amount of time it will take you to get a finished edit. This could be as long as 12 months. I highly suggest if at all possible do not allow your edit to go longer than a year. You don’t want to lose your momentum nor do you want your investors to start to think that they made a bad decision. The longer the process goes the more the pressure builds.

On a lighter note, you’re hiring a freelancer who has a day job. That usually means that he/she will have access to editing facilities. So in essence you’re getting a two for one deal—the editor and the edit bay. 

Weekend Report: 'Butler' Repeats, Newcomers All Open Below $10 Million

On a very slow late-August weekend, Lee Daniels' The Butler easily held on to the top spot at the box office. We're the Millers also continued to play well, while all three new nationwide releases opened to less than $10 million.

Overall, the Top 12 earned $90 million. That's up nine percent from the same weekend last year, when The Expendables 2 led with a weak $13.4 million.

With good reviews and strong word-of-mouth, The Butler fell 33 percent to $16.5 million. In comparison, The Help dropped 23 percent at the same point in its run two years ago, while 42 dipped 36 percent in its second weekend in April. Through 10 days in theaters, The Butler has earned $51.8 million.

Late Summer comedy hit We're the Millers eased 27 percent to $13.05 million, which allowed the movie to rank second for the third-straight weekend. It's now earned $91.3 million, and it will pass $100 million next weekend. Unless something drastic happens—like One Direction: This is Us winds up being a massive hit—We're the Millers will be the highest-grossing August 2013 release.

Among the newcomers, The Mortal Instruments: City of Bones had the top debut with $9.34 million. Compared to 2013's other Twilight wannabes, that's above Beautiful Creatures ($7.6 million) but a bit lower than The Host ($10.6 million). The movie did burn off some demand with a Wednesday debut, though, and through five days it has earned $14.1 million.

The movie's audience was 68 percent female and 46 percent under the age of 21. They gave it a "B+" CinemaScore, which doesn't really give a good indication of what kind of word-of-mouth it will receive. Regardless, young adult adaptations tend to be very front-loaded, and there's no reason to think that won't be the case here as well.

In fourth place, Edgar Wright's The World's End opened to $8.8 million from 1,549 locations. That's the highest start among Wright's "Cornetto Trilogy" of movies, though Hot Fuzz and Shaun of the Dead each opened in fewer than 1,000 theaters. The audience was 58 percent male and 54 percent under 30 years old, and they gave it a fine "B+" CinemaScore. Ultimately, The World's End should earn more than Hot Fuzz ($23.6 million), though not by too much.

Planes rounded out the Top Five with $8.6 million, which is off 36 percent from last weekend. To date, the DisneyToon animated movie has earned $59.6 million. Meanwhile, Elysium fell 49 percent to $6.9 million for a new total of $68.9 million.

Ahead of the weekend, many box office forecasters—including this one—predicted You're Next was going to be in the running for first place. That proved to be way off base: the low-budget horror movie opened to just $7.02 million this weekend, which was only good for seventh place. It's also the lowest nationwide opening for a horror movie yet in 2013 behind early year bombs Dark Skies ($8.2 million) and The Last Exorcism Part II ($7.7 million). The movie received a weak "B-" CinemaScore, which suggests it will have a fairly standard horror movie drop. Ultimately, it could have trouble cracking $20 million by the end of its run.

All three new nationwide releases were niche products that failed to connect with general audiences. In each case, the marketing was preaching to the choir, and the choir wasn't all that big: Mortal Instruments targeted fans of the book series, The World's End went after Edgar Wright aficionados, and You're Next marketed to indie horror buffs. As a result, none of these movies were able to find mainstream success on opening weekend.

It is important to note, though, that the bar for success isn't the same across the board here. The Mortal Instruments was much more expensive than the other two movies, and the goal was to kick off a series of movies, so this looks to be the biggest loser this weekend. The World's End and You're Next were more modest releases, and are comparatively in better shape.

Woody Allen's Blue Jasmine expanded nationwide this weekend and earned a decent $3.97 million from 1,283 locations. In comparison, Midnight in Paris never reached that many theaters, but still had three weekends in which it earned more than $4.3 million. To date, Blue Jasmine has grossed $14.8 million, and should ultimately top Vicky Cristina Barcelona and Match Point ($23.2 million each).

Around-the-World Roundup

Jurassic Park 3D expanded in to China this week and earned an excellent $28.8 million through its first six days. That's less than half of Titanic 3D's $67 million debut, but is still a strong figure in its own right. To date, Jurassic Park 3D has earned $44.5 million overseas, which brings its worldwide total to $89.9 million. Adding in the $914 million the movie grossed in its original 1993 run makes Jurassic Park the 17th movie ever to earn over $1 billion worldwide.

Elysium added $20 million this weekend, which includes a solid $4.78 million start in the U.K. To date, the Matt Damon sci-fi flick has taken in $70 million overseas.

Monsters University has quietly become one of Pixar's highest-grossing movies ever. The animated prequel added $19.6 million overseas this weekend, most of which came from a $13 million start in China and a $4.6 million debut in Italy. To date, it has earned $424.8 million overseas, which ranks fourth all-time for the animation studio. Worldwide, it has grossed $686.6 million—fourth all-time for Pixar—and it will pass $700 million by next weekend.

Percy Jackson: Sea of Monsters earned $18.2 million this weekend for an early total of $62.1 million. Its only major opening came in Russia, where it took in a solid $4.9 million.

Horror hit The Conjuring had its best foreign weekend yet with $17.7 million. It scored the highest opening ever for a horror movie in Mexico ($4.8 million), and was also strong in France ($2.4 million) and Italy ($1.9 million). To date, the movie has earned $88.4 million overseas, and it still has Brazil, South Korea and Japan on the way.

Now You See Me continued its surprising run with a great $5.8 million debut in South Korea. Overall, it earned $12.5 million this weekend for a fantastic $176.5 million total.

Despicable Me 2 added $10.9 million from 51 markets this weekend, which brings its foreign total to $455.1 million. Add in its domestic haul and Despicable Me 2 becomes just the seventh animated movie to earn over $800 million worldwide. With Italy, Japan and South Korea still on the way, there's a chance that the movie ultimately closes with over $900 million.

Finally, The Wolverine has now earned over $225 million overseas, which makes it the highest-grossing X-Men movie yet

9 Elements Of Great Films

By John Truby from Screenwriting Tips

You don’t need to go to film school to recognise the key elements of great movies.

These same elements are present time and time again in the great movies, like King Kong, The Outlaw Josey Wales, She Wore A Yellow Ribbon, McCabe and Mrs. Miller, Meet Me in St. Louis, It’s A Wonderful Life, Sunset Boulevard and Touch of Evil and they are worth highlighting:

1. These movies tend to have strong single line – with one overriding problem or goal for the hero – to give the story drive, momentum, and a sense of priorities, or in the extreme, a sense of the first cause.

2. These films occasionally digress from that strong line to allow the film to “breathe.” That is, they play with the structure to comment on what is happening, to cause the viewers to rethink their expectations, and to present actions or words that make an abstract, or thematic, point.

3. These films usually have heroes with a moral problem. The hero commits or fails to commit actions that hurt other people. These are characters with moral flaws, and the stories drive toward the moment when the hero uncovers his or her moral blindness.


4. Perhaps the most crucial element of great films is that the audience believes, what each is fighting about. Even more important, these movies attach entire clusters of values and beliefs to the two antagonists. The great movies set up, around a single central opposition, an array of other oppositions that grow until they have national or even international implications, and present the essential predicaments of human life.

Read more at http://www.raindance.org/9-elements-of-great-films/

So You Want to Make a Movie - The Wilderness

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. There is no shortage of books, videos, and online resources to help get you started. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 18. The Wilderness

Just when you think it is time to come up for air and a break, you are now going to face one of your most challenging aspects of making a movie (the edit). Post-production often feels like a wilderness experience—a time in which you feel like you are wondering around looking for a way out. At this point, you really don’t have a film. You have hundreds of pieces that somehow must fit together and emerge as a watchable movie.

In reality, a lot of productions never emerge out of the post-production process. They fail for the most obvious reason, a lack of money. I hope you’ve budged your film in a way that will allow you to get to the finish line. If you’ve run out of money at this point, you may be facing a very long uphill battle.

Where do you start? Hopefully, you’ve talked to an editor way back in the pre-production process. It just makes sense to have an editor onboard as early as possible. If you haven’t, my guess is you really don’t have the money to hire a professional film editor or to pay enormously expensive hourly rates at a post-production house. A good editor knows how to edit even if he/she has never tackled a feature film; therefore, look for someone who is looking for an opportunity to move into feature films. A good place to look for an editor is at commercial and industrial video production companies, local television stations, and large churches with media departments. Always get a demo reel.

The one thing you really need to think about when looking for an editor for your film is whether or not he/she has experience in color correction and has the software and filters that will make your movie look like it was shot on film. This is absolutely critical. More than likely, you’ve shot your movie on a digital format, which is nothing more than ones and zeros.

Film is a chemical process; therefore, it is a completely different look than a video. Film has a layer of grain and texture that makes it look a bit dreamy. This is what people expect to see when they watch a movie. If it looks too realistic, it resembles what you would see on your nightly newscast or documentary. Color correction is the process that helps turn video into a film.

The post-production process is very complex and technical. You definitely need to get someone who is not only artistically capable but also technically proficient. There are a thousand and one things that can go wrong, including frame rates that don’t match, incorrect aspect ratios, sync issues between audio and video, and dead sync. You don’t need to understand every aspect of editing. Just find someone who knows his way around the edit bay.

So You Want to Make a Movie - Good Directions

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. There is no shortage of books, videos, and online resources to help get you started. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 17 - Good Directions

If you are going to give “good directions”, you must know the script inside and out. Do you know the point of each scene? Do you understand the motivation for each action from your characters? Do you know the main emotional moment of each scene and where it leads to the next scene? Remember, your movie is being shot out of order. This can be disorienting, especially for inexperienced actors. Never direct an actor through what you want in results. Tell your actors what the character wants to achieve in the scene. Describe the action that needs to occur in order to achieve the result you are looking for in each scene. For example, don’t tell the actor to be angrier, upset, sadder, or happier. Give them the motivation and the reason why they are expressing the needed emotion.

Good directors give psychological motivation. Every direction should be geared toward giving the actor information about the scene so that your actor can achieve and experience the emotional moment of the character. That means that you need to understand the character. What does the character want, why does the character want it and from whom? Where did the character come from, and where is he/she in the present moment? It is essential for the director, to understand human nature and what people want and need from each other. If you can do that, you are on the road to becoming a good director.

The production set can be an overwhelming, scary and chaotic place because there are lots of people moving around with lights and equipment and all other sorts of distractions. As a result, good directors need to provide a safe place to work so their actors can be creative and feel secure. Providing the right kind of encouragement is absolutely a necessity to achieve the results you are looking for. Allow the personalities of your actors to bleed into the character. Let them enjoy the discovery of finding the character on their own because it’s more fun for you and the actor and will lead to believable and credible characters.

Your actors will always want more takes. The key to staying on schedule is to say no. When you have two good takes that you feel comfortable with move on. The reality is the performance will probably not be any better at the 7th or 8th takes versus the third or fourth takes. The only thing you are going to achieve is wasting time and money as well as exhausting your cast and crew. If you gave good direction, you will have to trust the results.

What does a typical production day look like? In one word—exhausting. Your production manager will create call sheets that tell cast and crew where to be and at what time. Your days will probably start around 6 a.m. and finish up around 9 p.m. In a typical three-week shoot, the first week will have a few bumps as cast and crew try to get into a rhythm. For the first couple of days, start out with something simple to build confidence. Your second week will be the most productive. I suggest that’s when you shoot your most complex and difficult scenes in terms of setups. By the third week, your cast and crew are just trying to survive to get to the end. Nerves are a little bit fried. So you might have to hold a few hands. Never the less, this is the week to shoot the more complex emotional scenes because the actors can access the emotions more readily due to stress and weariness of the production process. By now your actors should be able to relate to their characters

The sweetest words you are going to hear are “it’s a wrap”. That’s when your entire 100 page script has been shot and is in the can. That’s a total of somewhere between 75 to 90 scenes. There’s one final suggestion that might come in handy. Build into your schedule at least one day for pick-ups and reshoots. This allows your crew time to go out and shoot some B-roll and additional coverage shots.

So You Want to Make a Movie - Game Time

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. There is no shortage of books, videos, and online resources to help get you started. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 17. Game Time

Finally, after months of planning and strategizing, it’s time to move from pre-production to the production phase. In the next three to four weeks, everything you are trying to accomplish as a filmmaker and producer will be on the line. So it’s no time to relax. In pre-production, when problems arise you had the luxury of time to find solutions. That’s not the case during production. When you have a problem, it must be resolved quickly; otherwise, it could derail your entire film. As a producer, your main role in production is to be a problem solver. You can expect problems anytime you put 20 to 30 people together for several weeks with tight schedules, long hours, and with a difficult working environment, Again, that’s no different than shooting a mainstream or Christian movie.

People are people, and human nature will rear its ugly head. People will have different opinions, personal conflicts, jealousy, misunderstandings, and other issues. You might be able to overcome equipment, budges and location issues; however, the human issue is the most challenging of all. No matter how much care you have taken in putting your cast and crew together, there will be someone who’s main task seems to be to single handedly destroy your movie. Deal with it straight on. Sometimes, you might have to tell someone it’s time to leave. It’s not if these issues will happen. It’s only a matter of when they will happen.

Think of production as the big game. You’ve spent months developing your game plan. Now it’s time for the big kickoff. But just like with any game plan, you have to be flexible and adapt to the game situation. Let’s take a look at the game plan. It’s pretty simple as a low-budget filmmaker. You are the coach, and your job is to make sure everybody executes their job. The DP (Director of Photography) has to move in a fast and efficient manner to set up the camera and lights. There’s no time for complicated and time consuming shots and lighting schemes. Your production manger has to stay on budget and on time. That means he or she must have the ability to say no. As sure as the sun comes up in the morning, your department heads and other crew members will be asking for more resources and money. The production manager must remain firm to remind everyone what was agreed upon in pre-production. Remember the golden rule—the money you have is the money you have.

And what about the director, who is essentially the commander and chief during the production phase? Your director’s prime responsibility is to get two good takes and move on. If that doesn’t happen, you will run out of time and not finish your movie. Considering you are producing your movie, I hope you haven’t decided to direct it as well. But if you have, here’s my advice on what you should do as a first-time director. The director’s primary job falls into three categories. First, where do I put the camera and why, second, getting all of the coverage shots you need, and third, working with the actors to achieve a performance that will make the movie work.

I suggest you delegate the tasks of where to put the camera and coverage shots to your DP. You have your hands full. Concentrate working with your actors. The most important thing you can do as a director is set the tone and the atmosphere on set. How you act and react will affect both your crew and the cast. Barking commands is never a way to get what you want. Remember, filmmaking is a collaborative event. The secret to making a good movie is getting everybody involved in the process. Keep your directing at a simplistic level so your actors can relate to it.

Forecast: 'You're Next' Targets Top Spot on Quiet August Weekend

While the Summer season isn't officially over yet, for all intents and purposes the glory days are now officially behind us.

Among new entries this weekend, horror movie You're Next seems like the strongest contender, and could claim first place ahead of Lee Daniels' The Butler. The World's End is also attracting decent attention, though it's not opening wide enough to have a huge impact. Finally, The Mortal Instruments: City of Bones had a slow start on Wednesday and is on pace for a disappointing debut.

Unless You're Next winds up significantly stronger than expected, this will be the first weekend since February in which no single movie grosses over $20 million.

Last year was a rough one for the horror genre, as Paranormal Activity 4 led the way with just $53.9 million. The genre has thrived so far in 2013, though. Mama ($71.6 million), Evil Dead ($54.2 million) and The Purge ($64.5 million) all surpassed Paranormal Activity 4's figure, while July's The Conjuring has been a massive success with $129 million and counting. This data suggests that, when presented with appealing options, the horror audience will continue to show up at multiplexes en masse.

Playing at 2,437 locations, You're Next is hoping to add to this winning streak. The micro-budget independent production was acquired by Lionsgate shortly after premiering at the Toronto International Film Festival in September 2011. The fact that it has taken nearly two years to release likely has more to do with scheduling issues than any kind of quality concerns: as of Thursday afternoon, the movie has an 82 percent rating on Rotten Tomatoes, which is unusually high for the often-maligned horror genre.

Recognizing that the movie is above-average, Lionsgate's marketing effort for You're Next has focused heavily on word-of-mouth screenings. As a result, online buzz is very high, though that only goes so far. To really become a break-out hit, You're Next needs to connect with general horror audiences, which is a little bit tougher. To that end, recent commercials have emphasized that the movie is "really f***ing scary," and the creepy animal mask poster imagery has been cropping up all over the place for the past month or two.

One downside for You're Next is its perceived similarity to The Purge, which opened less than three months ago and is still fresh in the minds of audiences. Both are low-budget horror movies that feature masked home invaders terrorizing a family; while The Purge was elevated with its unique, clearly-stated premise, You're Next doesn't appear to offer much beyond standard home invasion thrills. According to reviews and online chatter, the movie is much more subversive than that, though those subtleties haven't quite come across in the marketing.

Based on the strength of the genre alone, You're Next should be able to open above $10 million. If it can get to $15 million, that should be enough to wrestle first place away from The Butler, which would make this the sixth horror movie to hold the top spot in 2013.

The World's End is the conclusion to director Edgar Wright's "Cornetto" trilogy: the first two entries were 2004's Shaun of the Dead and 2007's Hot Fuzz, which earned $13.5 million and $23.6 million, respectively. While those grosses are fairly low, the movies have a very passionate fanbase, and that group has been the main target for The World's End's marketing. Unfortunately, there doesn't seem to be much here for general audiences, and many will question the necessity of another apocalypse comedy on the heels of June's well-received This is the End.

Hot Fuzz opened to $5.8 million from 825 locations. With nearly twice as many locations (1,548), fantastic review (95 percent on Rotten Tomatoes) and a more extensive marketing effort, The World's End should do noticeably better than that. Still, without reaching outside of Wright's fanbase, it may be tough to top $10 million. Focus Features is hoping for $7 million this weekend.

The Mortal Instruments: City of Bones is the latest young-adult adaptation geared towards the young female audience that made Twilight and The Hunger Games such huge hits. That didn't work out so well for the first two attempts this year: Beautiful Creatures bombed with $19.5 million, while The Host was only slightly better with $26.6 million.

It's hard to tell if The Mortal Instruments is more or less popular than those stories—unfortunately, there isn't a Box Office Mojo for book sales. Regardless, advertisements have been preaching to the choir, and the movie is unlikely to reach beyond the book's established younger female fanbase.

The Mortal Instruments: City of Bones got a jump on the weekend with a $3 million debut on Wednesday. If it follows the same pace as Percy Jackson: Sea of Monsters—a recent young adult adaptation that opened on a Wednesday—it will earn less than $13 million through Sunday, which is a very unimpressive debut. Sony is more optimistically expecting $15 million for the five-day start.

After earning over $9.4 million in limited release, Writer/director Woody Allen's Blue Jasmine is expanding nationwide in to over 1,200 locations. That's Allen's widest release ever ahead of 2011's Midnight in Paris, which maxed out at 1,038 theaters. Aside from the great reviews and awards buzz surrounding Cate Blanchett's lead performance, Blue Jasmine has also received a strong marketing effort from distributor Sony Pictures Classics. Still, the movie doesn't seem to have quite the same broad appeal as Midnight in Paris, and it would be surprising if it earned over $5 million this weekend.

Forecast (August 23-25)
1. You're Next - $14.6 million
2. The Butler - $13.9 million (-44%)
3. We're the Millers - $13.1 million (-27%)
-. The World's End - $8.8 million
-. Mortal Instruments - $8.1 million ($13.1 million five-day)

Bar for Success
While it's not clear exactly how big its following is, The Mortal Instruments has received enough of a marketing push that it really ought to be earning at least $20 million through its first five days. You're Next gets a pass at $10 million, while The World's End needs at least $8.5 million (which would be on par with Shaun of the Dead's per-theater average from nine years ago).

Weekend Report: 'Kick-Ass' Gets Butt Kicked by 'Butler'

Thanks to its strong appeal among neglected adult audiences, Lee Daniels' The Butler easily took first place at the box office this weekend. Meanwhile, Kick-Ass 2 opened well below its predecessor, while Jobs and Paranoia both bombed.

The Top 12 earned $121.4 million, which is off five percent from the same weekend last year when The Expendables 2 ruled the box office.

Playing at 2,933 locations, The Butler opened to $24.6 million. That's a bit lower than The Help ($26 million), which opened in August 2011 and also dealt with the African-American experience during the civil rights movement (The Help also burned off some demand with a Wednesday debut). The Butler was also a bit stronger than Eat Pray Love and Julie & Julia, both of which were August releases targeted at adult audiences.

The Butler's success can first-and-foremost be attributed to strong scheduling. August has historically been a great time to release movies like this: after a season filled with CGI spectacle geared at young males, there's a ton of pent-up demand among older women. At the beginning of the Summer, The Weinstein Company recognized that there was nothing to fill this demand, and shrewdly decided to move The Butler up from October. They also did a nice job marketing the movie: ads emphasized the movie's inspirational "based on a true story" qualities, while Oprah Winfrey's relentless publicity tour helped raise awareness among the movie's key demographic.

The movie received an excellent "A" CinemaScore, and without any significant competition it should play well for the next few weeks. If it really hangs on, it could wind up over $100 million, though it would be shocking if it had the kind of long-term playability that got The Help over $160 million.

In second place, We're the Millers added $18 million this weekend. That's off just 32 percent from its opening, which is a better second weekend hold than past Summer 2013 comedy hits This is the End (down 36 percent) and The Heat (down 37 percent). The Jennifer Aniston/Jason Sudeikis comedy is clearly receiving strong word-of-mouth, and is well on its way to over $100 million total (it's banked $69.7 million so far).

Elysium narrowly took third place ahead of Planes and Kick-Ass 2. The Matt Damon sci-fi flick fell 54 percent to $13.7 million, and through 10 days has earned $56 million. It currently trails District 9 by around $17 million, and officially has no chance of reaching $100 million.

In its second weekend, Planes fell 40 percent to $13.4 million. Through 10 days, the Cars spin-off has earned a decent $45.3 million.

2010's Kick-Ass may have built a following on home video, but that didn't translate in to stronger attendance for the sequel. To the contrary, Kick-Ass 2 only opened to $13.3 million, which is way below the first movie's $19.8 million debut. It's also only a bit ahead of fellow Universal Pictures comic book adaptation R.I.P.D., which bombed earlier this Summer with $12.7 million.

The first Kick-Ass has been portrayed as a cult hit that wasn't fully appreciated during its theatrical run, though in reality Lionsgate did a great job getting the message out about it back in 2010. The movie looked fresh and fun, and did well-enough for a superhero comedy (a genre with a poor track record). By nature of being a sequel, Kick-Ass 2 lost many of the first movie's advantages, and on top of that the marketing did almost nothing to differentiate it. As a result, Kick-Ass 2 had a steeper drop in attendance than recent sequels like Red 2 and The Expendables 2.

Kick-Ass 2's audience was 63 percent male and 58 percent under the age of 25. They awarded the movie a "B+" CinemaScore, which doesn't really give a good indication on word-of-mouth. Regardless, the first movie did have good word-of-mouth, but still plummeted coming off opening weekend; if the same thing happens for Kick-Ass 2, its final total will be just over $30 million.

Percy Jackson: Sea of Monsters dipped 39 percent to $8.75 million for a new total of $39.3 million. Ultimately, the movie will make significantly less than its predecessor at the domestic box office ($88.8 million), though it should make up that gap thanks to overseas earnings.

Playing at 2,381 locations, Jobs opened in seventh place with $6.7 million. While it was never expected to match The Social Network, it's still very disappointing to note that the Steve Jobs biopic earned less than one-third as much as the Facebook story. This is also one of star Ashton Kutcher's lowest openings ever—among nationwide releases, it's only ahead of 2003's My Boss's Daughter ($4.9 million).

Jobs had plenty of issues, including awful reviews and a comedy star playing dramatic (almost never a good idea). Most important, though, was the movie's apparent tonal issues: while plenty of people enjoy their Apple products, the deification of Steve Jobs is a bit of a turn off. Jobs received a weak "B-" CinemaScore, and all indications are that it will disappear from theaters quickly.

While Jobs had a very weak debut, it wasn't the biggest loser this weekend: that honor goes to Paranoia, which opened in 13th place with just $3.5 million. It joins the ranks of other Relativity Media bombs like The Warrior's Way ($3.05 million) and Take Me Home Tonight ($3.46 million), and it's also makes it the lowest nationwide opening of the Summer ahead of Tyler Perry Presents Peeples ($4.6 million).

This awful debut isn't all that surprising: Paranoia was very lightly marketed, and the stuff that did get out was vague and unappealing. The movie received terrible reviews (just four percent fresh on Rotten Tomatoes) and audiences seem to dislike it as well ("C+" CinemaScore). This all suggests that the movie will drop off quickly, and it should become star Harrison Ford's lowest-grossing nationwide release ever.

Blue Jasmine expanded to 229 locations this weekend and added $2.29 million (about even with last weekend). It's now earned $9.42 million, and is set to expand nationwide next weekend.

Around-the-World Roundup

Elysium expanded in to a handful of major markets and took the top spot at the overseas box office this weekend. According to Sony, it opened ahead of District 9 and Pacific Rim in all eight of its new European territories, which includes France ($4.1 million), Spain ($3.3 million) and Germany ($3.2 million). It was also ahead of District 9 and Pacific Rim in Australia ($3.2 million). To date, it has grossed $37.7 million, and is set to expand in to the U.K. next weekend.

Playing in 36 territories, Percy Jackson: Sea of Monsters earned $21.5 million. It had a strong $3.9 million start in Brazil—that's fourth-highest ever for 20th Century Fox—and was also solid in France ($3.6 million) and Germany ($2.1 million). The movie's early total is $36.3 million, and it's reasonable to expect it to ultimately pass the first movie's $138 million total.

Pacific Rim added $20 million this weekend. Most of that came in China, where the movie dipped 25 percent to $14.6 million. This was enough to get the movie past $100 million there, which makes China the movie's highest-grossing territory ahead of the U.S. Overall, Pacific Rim has grossed $286 million overseas, and it should get past $300 million in the next week or two.

Without any significant openings, The Smurfs 2 earned $20 million for a new total of $150 million. The movie is doing well enough so far, but it's ultimately not going to get anywhere close to the first movie's $421 million total.

Worldwide sensation Despicable Me 2 added $19.5 million this weekend for a new total of $435.2 million. It took first place in Russia with $12.2 million, which is Universal's second-best opening ever there. The movie still has South Korea, Japan and Italy on the way, and is on pace to close over $500 million.

This weekend, The Wolverine passed X-Men: First Class at the foreign box office, where it has so far banked $214.8 million. It will become the highest-grossing X-Men movie ahead of The Last Stand ($225 million) by next weekend, and it still has plenty of money left to earn when it finally expands in to Japan on September 13th.

Domestic hit We're the Millers opened to $10.6 million from 13 overseas markets this weekend. Including previews, it earned $6.8 million in Russia, and was also strong in Australia ($2.3 million). The comedy reaches the U.K. next weekend before expanding in to most other major markets through September.
Grown Ups 2 earned $10 million this weekend, which includes great debuts in Mexico ($3.7 million) and Brazil ($1.5 million). To date, the Adam Sandler comedy sequel has earned $45 million overseas.

Planes opened to $7.3 million in nine markets this weekend. It debuted in the U.K. ($2.9 million) and Spain ($2.4 million); while the Cars spin-off isn't reaching Pixar levels, these figures are solid in its own right.

Coinciding with its domestic debut, Kick-Ass 2 opened to $6.3 million from 17 markets this weekend. Most of that came from the U.K., where the movie opened in second place with $4 million. The first Kick-Ass earned $48 million overseas, which is a figure this movie should ultimately exceed.

Christian Movie Connect Episode 84 – Britt George and Whitney Goin

Actor, Producer, Director and Writer, Britt George, has been working in the film and television industry for nearly 20 years. After attending the New Actors Workshop Conservatory in New York City, Britt went on to play roles in films such as “For Love or Country: The Arturo Sandoval Story” opposite Andy Garcia, and the Indie thriller “Deadly Species”. His other credits include “Trim,” co-starring Academy Award nominee Bruce Dern, “The Code Conspiracy,” “Dragnet,” “Boston Legal”, “Las Vegas” and “Burning Hollywood.” Britt’s latest film, “Inspiration Pop 2929”,premiered in Nashville in the spring of 2013.

Orlando native, Whitney Goin, graduated from Florida State University and taught Drama, Speech and Debate at her former high school. With a desire of using her love for the arts to make a difference in people’s lives, Whitney performed in Central Florida theatres for many years before opening her own theatre company, The Vine. She loves working on projects that uphold family values and allow her to “live lives” through film and television that impact her growth and offer hope to audiences. Whitney’s recent films include “The Spectacular Now,” “Broken,” “A Measure of Faith” and “Inspiration Pop 2929” which premiered in Nashville in the spring of 2013.

In this interview, George and Gointalk with CMC host, Cheryl Ariaz Wicker, about their experience filming “Inspiration Pop 2929.”


“Inspiration Pop 2929” is a family film with a musical heart set in a fictional Southern town that follows a diverse cast of characters as they struggle to overcome hardship and in doing so find fulfillment in unexpected ways.

Forecast: 'Kick-Ass,' 'Butler' Battle for First This Weekend

From Box Office Mojo

The Summer movie season is finally starting to wind down, though that didn't stop studios from scheduling four different nationwide releases this weekend. Judging exclusively by fanboy buzz, Kick-Ass 2 seems like the top contender, though Lee Daniels' The Butler has strong appeal among neglected adult audiences and could wind up over-performing. Meanwhile, Paranoia and Jobs each seem poised to open below $10 million.

Kick-Ass 2 hits theaters almost three-and-a-half years after the first Kick-Ass, which opened to $19.8 million on its way to a fine $48.1 million. It didn't do great business overseas either (over $48 million), so on the surface, at least, it's a surprising choice for a sequel. According to distributor Universal, though, the movie did disproportionately well on home video, which ultimately makes the sequel economics work out.

While it may be true that Kick-Ass gained a bigger following after its theatrical run, that doesn't guarantee that the sequel will perform better. Kick-Ass was by no means a "surprise" at the time of its release: its extensive marketing effort kicked off at Comic-Con nine months earlier, and distributor Lionsgate was able to get the movie in to over 3,000 locations on opening weekend (a very high number for an R-rated action comedy from a mid-major distributor). It had the advantage of looking fresh and fun, and generated plenty of buzz thanks to Nicolas Cage's portrayal of a psychotic Batman wannabe.

Kick-Ass 2 has received about the same marketing push, though it's been arguably less effective. Most of the imagery looks like it could have been pulled straight from the first movie—the teaser poster, found here, is particularly derivative. Also, Cage has been replaced by Jim Carrey in this movie, though Carrey has been largely absent from advertisements (his part is comparatively small, and he opted out of doing publicity). It also doesn't help that Kick-Ass 2 has been eviscerated by critics—it currently has a poor 28 percent rating on Rotten Tomatoes.

Ultimately, this seems like a classic case in which a well-liked original movie spawns an underperforming sequel. Two strong examples in the past year are Red 2 and The Expendables 2, both of which opened a bit lower than their predecessors. Based on those comparisons, Kick-Ass 2 could be in line for as low as $15 million this weekend. Universal is more optimistically projecting that Kick-Ass 2 will open around the same level as the original ($19.8 million).

Opening at 2,933 locations, Lee Daniels' The Butler could actually wind up ahead of Kick-Ass 2 this weekend. The movie has an all-star cast led by Forest Whitaker and Oprah, who is appearing on the big screen for the first time in over a decade and has been doing tons of publicity for the movie. The Weinstein Company has also done a lot of outreach to churchgoers, which is a group that can drive a lot of business to inspirational movies like this.

One of The Butler's biggest advantages is its very strong release date. After a few months of big-budget, male-skewing blockbuster fare, female-skewing adult dramas have consistently done good business in August. From 2009 to 2011, Julie and Julia, Eat Pray Love and The Help all opened over $20 million. The Help in particular is a good match for The Butler, as both movies deal with race issues during the U.S. civil rights movement.

All of this data suggests that a $20 million debut is a safe bet for The Butler, which should put it ahead of Kick-Ass 2.

Jobs opens at 2,381 locations this weekend. The biopic, which stars Ashton Kutcher as Apple co-founder Steve Jobs, has received a modest marketing push, and critics have given it generally poor reviews (22 percent on Rotten Tomatoes). This is the opposite of 2010's The Social Network, which had fantastic reviews and a broad marketing effort. With Jobs generating a fraction of the interest, it's likely that it opens to less than half of The Social Network's $22.4 million; distributor Open Road Films is expecting $8 to $9 million.

Corporate thriller Paranoia, which stars Liam Hemsworth, Harrison Ford and Gary Oldman, is opening at 2,459 locations. With a vague premise, light marketing, and a ton of competition in the market, it's likely that this winds up getting lost in the shuffle. Distributor Relativity Media is expecting between $4 and $6 million this weekend.

Forecast (August 16-18)
1. The Butler - $24.1 million
2. Kick-Ass 2 - $17.1 million
3. We're the Millers - $14.2 million (-46%)
4. Planes - $13.9 million (-37%)
5. Elysium - $13.1 million (-56%)
-. Jobs - $8.3 million
-. Paranoia - $6.6 million

Bar for Success
Kick-Ass 2 should at least match its predecessor's $19.8 million debut, while anything above $15 million is fine for Lee Daniels' The Butler. Considering they are each going out in over 2,300 locations with a nationwide marketing effort, Jobs and Paranoia ought to earn at least $10 million this weekend.

So You Want to Make a Movie - The Plan

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker.  No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 16. The Plan

If you are a first time filmmaker and producer, I suggest that you be intimately involved in every aspect of preproduction; that especially includes “the schedule”. Every film production has a bible, and it’s called “the production schedule” or “the production board”.

Your production manager is responsible for creating the shooting schedule and production board, which are based on a detailed analysis and breakdown of the script. The production board is essentially a blueprint that you follow during the production phase of your movie. It is designed to keep you on budget and on time. Without it, you have no chance of completing your movie. The production board’s main purpose is to group locations, actors, props, wardrobe, and crew in order to create an efficient and timely schedule. For example, if you need an actor for only two days and you’re shooting a 24-day schedule, it would be inefficient to have the actor work on day 6 and then on day 20. A good production board would have the actor on set on days 6 and 7.

The people you hire for your crew as well as the volunteers obviously need to do their jobs. You will have to trust their judgment, but don’t be afraid to ask questions about the schedule. The schedule has to be tight, but it also needs to breathe enough so that crew and cast are not pushed to the breaking point.

As the production draws closer, meet with your director and director of photography to look their shot list, lighting diagrams, storyboards, and blocking schemes. Have they done their homework? Do these look in order? Now is the time to find out—before you turn on the camera. All of these things are necessary as a low-budget filmmaker to stay on time, on schedule, and under budget. If the lighting diagrams and blocking schemes are too complicated, you might want to ask for revisions. “Keep it simple” should be your golden rule. Movie making is essentially an exercise in logistics. Good planning will solve a lot of problems within the production phase. Without a plan, you’re going to spend all of your time talking about what you want to do instead of actually doing it. Trust me; you can’t afford to do that. 

So You Want to Make a Movie - Locations

You’ve caught the bug, and you’ve decided to make a movie. But where do you start? The good news is today there are fewer barriers to overcome in order to produce a film. Thanks to digital filmmaking, the costs have dropped dramatically. In reality, practically anybody can become a filmmaker. No one article can answer all of your questions or take you through the entire process; however, I want to offer you 20 key steps that will at least steer you in the right direction. Think of these steps as the big picture or the 30,000 foot view.

Step 15. Locations

You have the choice of shooting your film on a sound stage, on location, or a combination of both. Sound stages are fantastic because you can control all aspects of your environment. They are convenient, flexible, soundproof, and protected from inclement weather. You are in total control of all atmospherics, such as fog, wind, rain, snow, etc. The only problem is they are expensive to rent, so you might want to think about shooting your entire movie on location.

A good place, once again, to get advice about locations is to check with your local film commission. Chances are they have pre-scouted every potential location within your geographical area. Tell them what type of locations you need for your movie. When scouting for locations, you as the producer should accompany the production designer, producer of photography, and the production manager. You cannot make intelligent decision about locations unless all of the principle participants are involved.

Don’t just go to a potential location once. Check it at different times of the day to get an overall feel of lighting, sound issues, and other potential problems. Don’t pick a location because it looks good. You have to think about logistics. If you have a crew and cast of 20 to 30 members, where do you put the staging area? Is there enough room for the caterer? Where does everybody park? Will there be sufficient power and are the electrical power boxes close by? And, of course, don’t forget about permits and what they are going to cost. As you can see, there’s a lot of things to consider when choosing a right location.

The one thing that either makes or breaks a location is how much money the owner wants. As a low-budget filmmaker, pay locations fees only if it is absolutely necessary. By all means, try to make a deal and offer the owner a piece of your movie for promotional purposes. If you are shooting in a city that doesn’t a lot of film production, you have an excellent chance of making a deal. That’s not true in places like Los Angeles where everybody wants to get paid because property owners are knowledgeable about the film industry, and they will expect you to write them a big check.

Your locations need to be lined up weeks in advance. Make sure you talk to all the right people who have the authority to get the deal done. Be specific and lock down the time and the day or days. Whatever you do, make absolutely certain that you get it in writing. I realize asking for a location for free and then wanting the owner to sign an agreement can be scary. It’s one thing for the owner to say that it’s OK to shoot on his/her property and another thing to get it in writing. You don’t have anything unless it’s in writing. Can you imagine showing up the day of your shoot only to be told that you talked to the wrong person, and he/she has no idea you were coming? The last thing you want to do is to get into that kind of situation. And, as always, have a fallback plan in case the location doesn’t pan out.  

Polycarp: The Destroyer of Gods

If you ever meet Jerry Henline, you wouldn’t think of him as a movie producer. I’m sure if you ask Mr. Henline, he certainly wouldn’t have considered himself a filmmaker two years ago. Mr. Henline is a successful Cincinnati Area businessman, who has been busy raising five children with his wife of 35 years. The last thing that he ever thought he would stumble into is the movie-making business.

Today, Jerry Henline is producing a major motion picture titled Polycarp: The Destroyer of Gods. The film is based on actual historical events which took place in 2^nd Century Smyrna, which is located in modern-day Turkey.

Polycarp is believed to have been martyred and burned at the stake for his Christian beliefs. He was the Christian bishop of Smyrna at the time of his death. The Catholic Church recognizes Polycarp as a saint. He is also equally recognized within the Eastern Orthodox Church as a saint.

So why would Mr. Henline decide to get into the filmmaking business and tackle such a difficult task as recreating the ancient world of Smyrna? Doesn’t that sound like something that only Hollywood would have the resources to accurately depict?

Mr. Henline’s story is an interesting one to say the least. It started four years ago with Mr. Henline’s two youngest children, Joe, age 14 at the time, and Jerica, age 16 at the time started to express an interest in media. This brother and sister team produced a music video that won Second Place in a national contest. That ignited a passion for filmmaking. What resulted was an award for Best Young Filmmaker in 2012 for The Forgotten Martyr: Lady Jane Greg at the San Antonio Independent Film Festival. Joe directed the short film, and Jerica wrote the feature and starred as Lady Jane Greg.

For the Henlines, the question became what’s next. It’s obvious that Joe and Jerica are extremely talented for their age. The three felt God’s pull to do something bigger. Could they produce a full-length motion picture? Jerica chose Polycarp as a story that needed to be told and then started the difficult task of writing a script.

The Henlines wanted to remind Christians about their heritage and the sacrifices that have been made to allow us to freely share our faith. The early Church Fathers all paid a dear price for their belief in Christ. Many died at the hands of the Roman Empire in the most brutal ways imaginable.

After a great deal of time, prayer and, I might add, script revisions, Polycarp: The Destroyer of God began to take shape. Production started in mid-July of 2013.

A few days ago, I was invited on set to take a look at the progress. To be honest with you, I was skeptical. After all, producing any movie is challenging, but trying to accurately recreate a 2^nd Century Mediterranean city is a major violation of the low-budget filmmaking guidebook—Never do a period piece. And how many 18 year olds can pull off directing a feature film. After all, Joe was just recently graduated from high school.

I was pleasantly surprised in what I saw. Mr. Henline converted part of his manufacturing business into a sound stage. His team has built sets that look like the real deal. John Calhoun, who is the Data Wrangler, showed me some of the footage. It looks great! It is as good as anything you can imagine. They really sell the fact that you are watching events that are taking place hundreds of years ago. The important thing is you have to convince your audience that what they are watching is real and plausible. Of course, it’s an illusion, but that’s what filmmaking is all about. And somehow Mr. Henline and his team have managed to pull it off.

I couldn’t help but wonder how they could do this. First, Mr. Henline told me they had over $200,000 in building materials, sets, and props donated. They came from several Christian ministries and individuals. That helped keep the budget manageable and under control.

I couldn’t help but notice that the crew looked young—really young. Mr. Henline told me that the average age of his 48-member crew was 21, and most were self-taught and have never attended film school. They came from all over the country because they believed in the vision of the project. After all, Polycarp is a Christian movie, and many of the crew have a passion to use film as a tool to reach our culture with the message of Christ. This wasn’t a crew that just wanted to help out. I’ve been in the media business for 35 years and have been on several film sets. This crew knows what they’re doing. They are very professional and, obviously, talented in what they do.

I was especially impressed with Mr. Henline’s son Joe, who is directing the film. As I said, Joe is 18, and it is nothing short of astonishing to see him at such a young age mastering his craft. I can only imagine what the future will hold for Joe and Jerica if they continue to pursue filmmaking as a career. How many lives will they impact in the years to come? And, if they are that good at this age, where will they be in their careers in ten years?

In some ways, Jerry Henline’s story isn’t that unusual. There’s been an explosion in recent years in the world of low-budget, independent filmmaking, especially Christian films. What’s made this possible is the digital revolution. Until recently, movies were shot on 35mm film. That’s no longer the case. Pollycarp: The Destroyers of God is shot with a digital Red Scarlet Camera. Without getting too technical, shooting digitally has changed the game and allowed filmmakers like Mr. Henline access to the filmmaking process. Today, the cost of shooting a movie with digital cameras is a fraction of what it used to be shooting a movie on film.

The bottom line: Hollywood is no longer the center of the filmmaking universe. Everybody today has an opportunity to tell their story. To tell you the truth, although Polycarp is a low-budget feature, it doesn’t feel that way thanks to the advancement of technology and the hard work of individuals who believe in the project.

In the next few days, Polycarp will wrap up the production phase. After that, there’s perhaps a year of work ahead to edit, color grade, and score the film, along with other postproduction elements to be added.

Does Polycarp have an opportunity to play at your local theater? I sure think so. It certainly has an opportunity for some type of distribution. Who knows? Perhaps the Hallmark Channel? DVD distribution at your local Wal-Mart or Target? These are certainly possibilities.

And what about the Henlines? Will they continue to produce movies? If it is God’s calling, I have no doubt that there will be more to come.