On Directing Commercials, Opportunities in Entertainment and Maintaining Relationships: An interview with Filmmaker Nick Santana – Part 3 #indiefilm #kickstarter

As the short film “Elvis” continues to raise over 100% of its production funds through a Kickstarter project that ends in under 24 hours from now, it is clear that crowd funding is not only alive and well but also here to stay in 2012. After discussing how immigration challenges affect more people than we know and realizing ways that second tier film festivals may reach targeted audiences better, “Elvis” director Nick Santana also shares some insight into navigating the landscape of opportunities for filmmakers who want to direct commercials and/or motion pictures.

Madlab Post: In what ways did your work at William Morris Agency help to build your filmmaking reel?

Nick Santana: I built my filmmaking reel while I was there. It was great but very difficult because when you are an assistant to an agent, you don’t have a life – you’re constantly chasing new deals, trying to stay up on everything -- but the person who I worked for was a very cool mentor and very helpful. More importantly, I got to read a lot of good scripts and then I got to see a lot of good short films that came across our desks. So, it was great to see – I think it’s important to see other good work.

I don’t understand when people – like writers or novelists say “Oh, I don’t want to read certain books because I don’t want that to influence me.” I really think you’re cutting yourself short because you need to see good work and read good material. I mean, that’s the only way you’re going to ever get better.

I can assure you that the way you interpret something is so different than the way someone else is going to do it. You can direct the same movie and it will be completely different. So, I don’t think you should worry or let that get in the way – you should see some really good films and you should see some really bad films so you can go “wow, ok. This is bad!”

I think you need to allow yourself to see good work and bad work and then go out there and try it yourself and fail and not be afraid to fall short – to constantly keep doing stuff so you can improve.

How do you maintain a work/life balance or does film take up your entire existence?

You have to treat it like a full-time job. Sometimes, I get up at 6a.m. just to write and you kind of also have to make that a priority – you have to balance your social life, of course. I now only go out when I’m invited to dinners with friends or if it’s something where it’s like “I must do this,” then I’ll go out. Now, I’m so focused on doing this (“Elvis”) and I have some side projects in the tech space, there’s no time -- I want to come home immediately so I can work on all of these side projects and then, obviously, get some sleep as well. It’s hard but you just have to put in the time and do it.

Does indie film kill all relationships, as Heidi Van Lier says?

I don’t know Heidi, so I’m not speaking for her but speaking on my own terms and personal life with my wife – you have to have a balance in any relationship and you have to be supportive. My wife runs her own business and I’m supportive of her – I want to see my wife succeed, and everyone says “I support my spouse” but you really have to stand behind them and vice versa – My wife stands behind me, so, we just allocate time – Friday nights is date night, no matter what. It also helps that we don’t have children, but, we make it a point to do the date nights and going to bed early helps because I get up early.

Technology makes it so easy now to reply to emails – I can reply to emails on my phone, I don’t have to be on a desktop, so that cuts down on a lot of time but I think it really is about organization. I have another friend who is an independent filmmaker, Brant Sersen who is working on a new movie – he got married right after he went into production on his second feature film and now he has a daughter. He has a fully functional and healthy marriage. It’s with anything in life – you can’t be selfish. That’s the bottom line.

In a relationship, it’s a team effort – not one person, it’s two people and you have to realize that you have to be considerate to your partner and that’s it. Think about, not even filmmakers, but entrepreneurs or CEOs like Steve Jobs. He was the CEO of Apple and married and had kids. He was able to do it. Think about Sheryl Sandberg, who is the Chief Operating Officer of Facebook. She is married, has a high-level executive position and has children.

So when I hear “oooh, independent film ruins relationships,” they’re just being selfish artists, because when you think about someone like Sheryl Sandberg, I think the work that she is going has more of a global impact than an independent filmmaker and she’s still able to maintain a healthy relationship -- kids and all that.

How can filmmakers get jobs directing commercials for corporate brands?

That’s a hard one. The way I did it was crazy – I had a company represent me and the first company was kind of cool but then I left to get with a smaller company and that was a disaster and then I left. Now, people are doing it on their own without representation. There is a company called Tongal where assignments come on board and you can try to find work with brands to do online content. I think it’s easier moreso now than ever and you just have to have the chops and keep doing it – and networking as well.

You gotta get in there and network and constantly keep shooting because your reel can get outdated. Keep updating your work and show new stuff. A couple of years ago, I just put my reel together and go out there and get signed. I had to send my reel out – I was working at the William Morris Agency at the time and it was hard just to get anyone to notice me.

So as a favor, the agent that I was working for made some calls on my behalf and then people saw my reel. Again, you have to understand that the landscape for commercials has changed as well. Now, that’s why I feel like it’s so much easier for independent filmmakers to make things and get it online quicker, faster and cheaper whereas some of the commercial directors that were getting paid a lot of money aren’t used to doing that. They’ll still get the big accounts, but now, brands want to do consumer engagement so they’re looking for user generated content that obviously has good quality, of course, or that is clever or has a really good concept.

I don’t have representation and I’m actually working on something this Friday, so, there is no template or no one-way to get in. Some people do a commercial, enter a contest and get discovered that way. I also think about how we always hear these stories of someone posting something on YouTube and then they’re directing a commercial from that.

What are the differences between New York and California, regarding opportunities for independent filmmakers who want to direct movies?

L.A. has more production. The city of New York is a little more diverse so it’s not entirely focused on entertainment. With that said, I think it’s easier now, in general, to fund something and make a movie – Look at me, I’m using Kickstarter to fund my movie and I’m shooting it on an HDSLR camera and I’m probably going to edit this movie myself – do the first edit and then give it off to an editor, but, I remember having to pay an editor to sit there and edit my commercials for me, when I was getting my reel done.

There was just so much cost involved and now, you can kind of eliminate a lot of those costs and do it yourself – you can spend $2,000 and buy yourself a nice camera, go out and start shooting and get practice. Back when I was starting, I was shooting on film and that’s expensive! Most of the stuff that I did on my reel was shot on 35mm and we had to literally beg, borrow and steal – I can’t remember who lent me their camera, but it was an old school 35mm camera and I bought short ends.

Then, I had to haggle for the telecine, to transfer from film to video. Now, I bought myself a camera -- $2,000 and shot the trailer for my Kickstarter project myself, came home and edited it together. That cost me nothing but time. Now, I feel like it’s almost even made me a better filmmaker -- a better storyteller. The more you do, the more you practice, the better you get.

Thanks to Nick Santana for doing this interview!

If you’ve been following the happenings on Twitter or reading my recent blog posts, you’ll be happy to know that “Elvis” is now fully funded…but the campaign doesn’t stop here.

The Kickstarter project for this short film runs until tomorrow afternoon, which means that you still have time to support this movie by either sending a donation, posting on Facebook or telling your friends about “Elvis.”

The latest on Brooklyn Short Film ‘Elvis’ Kickstarter Campaign: An Interview with Nick Santana – Part 2 #indiefilm

New York based filmmaker Nick Santana’s “Elvis” depicts immigration from the perspective of a teenage boy whose citizenship status takes him by surprise. This short film is currently seeking support in $1, $5 or $10 donations toward its Kickstarter project. Here is the second part of my interview with Santana, where you can learn more about his plans for “Elvis” and his fundraising platform of choice.

Madlab Post: Why did you choose Kickstarter over other crowdsourcing services that are available to filmmakers?

Nick Santana: I chose Kickstarter; which I’m sorta now trying to figure out if it was a good choice or not; because of its brand equity – More people know about Kickstarter than they do IndieGoGo or some of the other crowd funding platforms and for me, that was important. I was trying to lower the barrier of entry, so if someone says “Oh, I know Kickstarter” or “I’ve heard of Kickstarter,” they’re more willing to donate and give their credit card information (rather than) to a service that they really don’t know anything about.

What is the production status of "Elvis"?

I secured one location – It’s a deli, a bodega that is Dominican owned. I walked in there and told them what the story was about and they said “Hey, whatever you need,” and I said “Well, I need a scene – I have a scene in a bodega” and they were like “Done! You can shoot here” (laughs) and I said “I’m going to need to shoot here for like six to eight hours” and they said “No problem, whatever you need.” So, I have one location so far. I haven’t done casting yet because I haven’t raised 100% of the budget.

I do have a producer on board and a music supervisor on board who’ve been great and they came on board from the very beginning. That’s where it stands right now -- I’m so far 50% (update: at the time of this posting, “Elvis” is 76% funded) funded and I need to make 100%. Kickstarter’s all-or-nothing approach to crowd funding is great because it gives you an incentive to go out and really make it happen – to campaign, and that’s how I’ve been able to raise (76%) so far.

I literally feel like I’m campaigning every day – reaching out to people on Facebook, on Twitter; I’m the “Elvis” ambassador. I did a guest blog post for an immigration law themed blog two weeks ago, so I’ve been kinda doing the circuit of trying to get the word out.

What are the plans for "Elvis" once the film is finished?

I want to do the festival circuit. I think that the subject matter – it’s not a comedy – but you can consider it a docudrama, it’s something that no one really speaks about. I’m not telling the point of view from parents that are being deported, but from a child being left behind. So, the plan is the festival circuit and if there are any children advocacy groups for immigration organizations that want to use it for their website, I’d be more than happy to just say “Yeah, here, please – screen it, use it!”

I thought about going with the big festivals like Sundance, Cannes but I actually would almost prefer to go with the smaller, maybe second tier festivals -- just because there would probably be more of an audience. It would reach more people. When you think about the Cannes or the Sundances, those are like the elite of the entertainment industry. They’re not accessible to the everyday person, to the majority of people who are voting on immigration issues.

So, I’ve been kind of rethinking my strategy for film festivals and definitely considering only sending it to the second tier and the third tier festivals that are probably based in smaller cities – because I feel like “Elvis” would get more exposure to the people who really need to see it -- maybe South by Southwest (SXSW), or the Morelia International Film Festival in Mexico, which shows films that are very serious in tone, also the L.A. Film Festival – I mean, that’s my hometown. I would like to look at the Brooklyn Film Festival, you know – kind of more of the local stuff that I can go to, pop in and do a Q&A, if of course, the film festival programmers would take me. (laughs) I don’t want to get ahead of myself.

Stay tuned for more on film director Nick Santana, this weekend.

I donated some money toward the production of the short film ‘Elvis.’ Can you do the same?

It only takes $5. You can also help by posting a link on Twitter, Facebook, Google+ or your blog, website or other online places that you frequent to help support the Kickstarter campaign for ‘Elvis.’

Do Not Wait. Do it Today! No, do it Right Now!

I did yesterday, right before blogging about this movie, so if I can take a few minutes to help promote this project by posting online, I know you all have it in you to do the same. Join me in the fun of supporting independent film!

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‘Elvis’ tackles Teenagers Lost in the Immigration Shuffle: An Interview with Film Director Nick Santana #indiefilm #kickstarter

Inspired by the life experiences of a cousin from Mexico, filmmaker Nick Santana is providing a voice for teenagers who are faced with immigration challenges with his short film debut, “Elvis.” The movie is set in Brooklyn, New York and tells the story of a 15 year-old boy named Elvis who suddenly learns that he is undocumented and may be deported. In a recent interview, Santana shares some background information on how the screenplay for “Elvis” came to light while also reminding me why movies centered on real-life circumstances that are rarely seen in film deserves our support.

Madlab Post: How did you get attached to this film?

Nick Santana: I wrote the screenplay. It was an idea that I’ve been playing with for a couple of months. I’ve done other stuff in films – commercials and online content, but mostly for (corporate) brands; I wanted to do something else that was a little bit more personal and I was trying to figure out what that would be and this is the project that I wrote.

What inspired you to want to make "Elvis" during a time when our country's political landscape is battling such a touchy subject?

As I was trying to come up with an idea of what the short film would be, I kept pitching ideas to friends, to my wife and nothing struck a chord -- I didn’t feel passionate about them. I read a couple of articles in the New York Times, on children whose parents are being deported and it sparked a childhood memory of one of my cousins – he and I discovered that his citizenship was not legal, when he was about to graduate from high school.

He was an undocumented citizen, so he couldn’t apply for University -- he could, but he wasn’t eligible for student loans, the Pell grants or any financial aid, at all. I remember him getting discouraged; He wanted to study architecture. So, I drew from that – personal experience and the article that I read. That’s how I came up with the story for “Elvis” and I made it specifically very New York based.

Was the New York setting of “Elvis” chosen based on this city’s high immigrant population?

“Elvis” is set in New York because of two reasons – I’m here, so it’s easier for me because it costs less money to make the film -- I don’t have to fly out to Los Angeles. Also, New York has always been an entryway, a hub of immigration and diversity. We have the Statue of Liberty – that’s one big example, one symbol of immigration.

You meet a plethora of immigrants from all over (the world) in New York – West African, Middle Eastern and people from the South Pacific. In California, the biggest complaint is that there are people from Mexico and Central America there, but New York has people from everywhere. Your cab drivers, the street vendors selling food – you’re exposed to it; that’s what makes this city so amazing – you’re constantly exposed to change and to diversity.

In what ways can "Elvis" help teenagers become more understanding of either their peers or their own circumstances?

In this particular story, Elvis comes to a realization of his citizenship status and much like a lot of teenagers, you go through life not thinking that your life can change – you’re immortal when you’re young; The short is less than 10 minutes long but in the beginning we see Elvis being a normal teenager, wilding out and hanging out with his friends, trying to pick up on teenage girls from the city and then his life is turned upside down. He then almost steps up and becomes a man.

What I hope to achieve by telling the story of Elvis is that this is a serious problem – a lot of children come to this country, not on their own choice, they’re brought here by their parents from many different circumstances – escaping poverty or political persecution, etc. but all of a sudden, what do you do when you grow up and you honestly think that you’re American and you don’t know anything else?

I was recently talking to a neighbor who told me that his cousin, who is from Haiti, never knew that he was undocumented. When neighbor’s cousin got into trouble, was picked up for a minor infraction and sent to a detention center. While in detention, he got into a fight and they ended up not only keeping him there longer but they also deported him. They sent him back to Haiti. His entire family is in New York City! He doesn’t know anyone in Haiti and he doesn’t speak the language, so you know, it’s like these cases that I’m starting to realize that they’re not uncommon. So, that’s the story of Elvis.

"At a time when adolescent passage into adulthood is marked by achieving certain milestones, the Elvises of this country have to adapt to living in the shadows." - Nick Santana on 'Elvis'

Stay tuned for more on Nick Santana’s Short Film “Elvis,” tomorrow. In the meantime, support this film by donating $5 to the “Elvis” Kickstarter campaign.

Contributions to this project will help make the production possible in areas such as sound mix, transportation costs, editing and lighting. If you don’t have $5, there is good news – you CAN still donate even only $1 to help get this film in the can!

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