Here's what it's like to shoot a moving train from a moving helicopter, who wins a budgets-vs.-creative battle in the studio system - or budgets and efficiency vs. safety. The answers to questions like, why are we still waiting to shoot? Why are studios the way they are? What goes into the machinery of studio financing? ...and how Billy knew he had finally made it in the business when no one would sit with him at lunch.
The wait is over! Producer and 3rd-generation movie-maker, Billy Badalato, Jr., stopped by Cinematic Immunity recently to school us on the ins and outs of international and domestic film consulting, the logistics of Navy fighter-jet refueling, and some of the difficulties of using trains, planes and boats in your movie. We discuss what happens when you go to shoot in the middle of nowhere, and how to climb the showbiz ladder from personal assistant to president of a global production and consulting company.
Thomas Ethan Harris and certain members of the Cinematic Immunity team may not see eye to eye on what constitutes a "good" epic space-opera of the late 1970s... but all was eventually forgiven thanks to Harris' incredible insights into the exciting world of film festivals and how independent filmmakers can achieve success in it.
In our interview with film consultant and co-founder of the Los Angeles Film Festival (L.A.F.F.), Thomas Ethan Harris, we learn what happens during the festival selection process, what you can do to help your film before and after it's accepted, and the important but often-overlooked details that make the great films stand out from all the rest. We also discuss some of the movies Harris had a larger involvement in - such as the groundbreaking 1999 indie hit, "The Blair Witch Project" - and what he's learned from sitting through tens of thousands of short and feature-film submissions over the years. And, yes, we get his expert opinion on that classic movie about a galaxy far, far away...