FEATURE: STEP OFF (was "Battle") - Narrative Feature

Just have to say, glad the discussion is so robust. I was talking with friends who work for TP this weekend and we all sort of agree that we're glad TP is in ATL and doing well. However, we wish he'd expand his brand so he wouldn't be as volatile a figure. I mean, less people would mind his movies if there were more diverse visions out there and he now has the power to explore that...and to a small extent he has done that. However, he's got such a platform to REALLY be a studio. As it is, he's only a TP production company no matter how many shows get produced and movies. A TRUE studio would be way more diverse in its content and it would definitely be a historic breakthrough. I think that may be behind some of the harsh critique of TP.

-Martin
 
Martay said:
Just have to say, glad the discussion is so robust. I was talking with friends who work for TP this weekend and we all sort of agree that we're glad TP is in ATL and doing well. However, we wish he'd expand his brand so he wouldn't be as volatile a figure. I mean, less people would mind his movies if there were more diverse visions out there and he now has the power to explore that...and to a small extent he has done that. However, he's got such a platform to REALLY be a studio. As it is, he's only a TP production company no matter how many shows get produced and movies. A TRUE studio would be way more diverse in its content and it would definitely be a historic breakthrough. I think that may be behind some of the harsh critique of TP.

-Martin
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Yeah, you may be right about that. I think that because of what he's done and who he is though that people will always criticize him for something. He should operate in that aspect like other studios and it would definitely give lots of people jobs and opportunities. I'm sure even if he did that he would be criticized. You have some people that just want him to do religious church-type stories and if it's anything beyond that, they're not having it.
 
Martay said:
Yes. :)
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Haha. I think that's what everyone really wanted to know. It's all about the money first, then the doing.

And, while the topic of the last two or three pages also pertains to myself (I'm also originally from Atlanta--Marietta, Smyrna, Kennesaw) that's a very tough conversation to even think about entering. I've got my own views and impressions about racially segregated genre's, but always feel a bit wary to say anything about it.

I will definitely freely say that most of what I'm interested in creating? It just will not resonate with certain backgrounds. Even now watching the trailer for my first feature, I can't really see the demo being interested in it, aside from people that I know share similar interests and comedic sense.

Then again, there is a large grey area forming, as one other also pointed out.

Good conversation, though, and glad to read that some concerns that I also have are reflected.
 
Martay said:
"Step Off might be one of the most inspirational movies of its variety..." - Steve Anderson, Screenhead

http://www.screenhead.com/reviews/step-off-movie-review-theyre-cliches-for-a-reason/

This is how you would do a pull quote right?

I need to put together a new One Sheet for foreign buyers and don't want to mistep.

-Martin
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As far as I know, but I'm not an expert. I didn't know you could put those on the one-sheets (but obviously it would help). I also thought that the distributor was responsible for that. Is that not the case? Did you send a one-sheet with your screeners, because I thought all the one-sheet stuff was for the distributor to handle.
 
Marlon Ladd said:
As far as I know, but I'm not an expert. I didn't know you could put those on the one-sheets (but obviously it would help). I also thought that the distributor was responsible for that. Is that not the case? Did you send a one-sheet with your screeners, because I thought all the one-sheet stuff was for the distributor to handle.
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Yes. Remember, you are the distributor of your film until you make a deal with another entity for distribution in certain territories.

Our deal is only for U.S. & Canada presently, so we're still shopping it to foreign distributors and I am planning on including a couple quotes on a revised one sheet.

You need to have as much of the package ready on your own. They're likely to change everything...like title, synopsis, logline, etc. to suit their taste but YOU'RE selling now. They'll be selling later. So, give it to them in as complete a form as possible.

It's funny some of the things they kept from our materials versus what they changed.

You can tell, the trailers are similar...except for the V.O. with "SERIOUS TRAILER VOICE" and a few more crowd shots and a little less of our lead actress.

The ad they ran in Home Media Magazine contained our Movie based tagline that we used in our original one sheet "Step Off blends the mood, vigor and themes of 8 Mile and the perserverence and edge of Hustle & Flow with the old-school vibe of Juice" That's the bottom of our original Battle one sheet in a front page trade ad. Plus they gave the original title a little nod at the top of the ad "LET THE BATTLE BEGIN".

And of course, they really bought into another of our original selling points..."From a Producer of You Got Served..."

The trailer house screwed that one up for the trailer if you notice "...from an executive producer of You Got Served..."

And they didn't value our official tagline "Every dream has a fighting chance" enough to incorporate it which was a little disappointing because I think it captures the spirit of the movie very well.

But, what I think might be of value to everyone who was paying attention to my post earlier about our step by step process is to note that we never took for granted we'd get a deal so we felt we had to have marketing materials comparable to the likes of Lionsgate and Screen Gems...etc.

There are many things that you'd typically assume a distributor will do (and they will) that you need to be sure you take care of yourself.

-Martin
 
Martay said:
Yes. Remember, you are the distributor of your film until you make a deal with another entity for distribution in certain territories.

Our deal is only for U.S. & Canada presently, so we're still shopping it to foreign distributors and I am planning on including a couple quotes on a revised one sheet.

You need to have as much of the package ready on your own. They're likely to change everything...like title, synopsis, logline, etc. to suit their taste but YOU'RE selling now. They'll be selling later. So, give it to them in as complete a form as possible.

It's funny some of the things they kept from our materials versus what they changed.

You can tell, the trailers are similar...except for the V.O. with "SERIOUS TRAILER VOICE" and a few more crowd shots and a little less of our lead actress.

The ad they ran in Home Media Magazine contained our Movie based tagline that we used in our original one sheet "Step Off blends the mood, vigor and themes of 8 Mile and the perserverence and edge of Hustle & Flow with the old-school vibe of Juice" That's the bottom of our original Battle one sheet in a front page trade ad. Plus they gave the original title a little nod at the top of the ad "LET THE BATTLE BEGIN".

And of course, they really bought into another of our original selling points..."From a Producer of You Got Served..."

The trailer house screwed that one up for the trailer if you notice "...from an executive producer of You Got Served..."

And they didn't value our official tagline "Every dream has a fighting chance" enough to incorporate it which was a little disappointing because I think it captures the spirit of the movie very well.

But, what I think might be of value to everyone who was paying attention to my post earlier about our step by step process is to note that we never took for granted we'd get a deal so we felt we had to have marketing materials comparable to the likes of Lionsgate and Screen Gems...etc.

There are many things that you'd typically assume a distributor will do (and they will) that you need to be sure you take care of yourself.

-Martin
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It's funny you say that about what you need to take care of yourself, because I've thought like that for a long time. When I finished my last feature several years back, I wanted to send the screener copies all packaged up in a DVD with cover art and everything, and that's exactly what I did. I never even thought about submitting a one-sheet or press materials with it, but you're right about selling the film. It looks like the more you sell it to them, they'll look at what you've already offered up and most likely use some of the things you've used to market. Like the quotes and such. Plus, I also thought the more work you've done up front, then the less you will have to do on the back end.
 
Thanks for the latest insight, Martay. I do wish now that I had done a trailer much earlier versus chopping the movie, but to my own defenses here I didn't have enough completed to really do a trailer.

So, now I'm holding off on the final cut and finishing up a trailer, putting together assets to do some marketing. Means it's gonna take longer than I wanted but... gotta make it happen.
 
Kholi said:
Thanks for the latest insight, Martay. I do wish now that I had done a trailer much earlier versus chopping the movie, but to my own defenses here I didn't have enough completed to really do a trailer.

So, now I'm holding off on the final cut and finishing up a trailer, putting together assets to do some marketing. Means it's gonna take longer than I wanted but... gotta make it happen.
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It will always take longer than you want. Believe me. We thought we'd be out in 2010 but obviously it took longer.

Yeah, just make it as good as you can. Don't jump the gun on it, it'll happen :)

-Martin
 
Marlon Ladd said:
It's funny you say that about what you need to take care of yourself, because I've thought like that for a long time. When I finished my last feature several years back, I wanted to send the screener copies all packaged up in a DVD with cover art and everything, and that's exactly what I did. I never even thought about submitting a one-sheet or press materials with it, but you're right about selling the film. It looks like the more you sell it to them, they'll look at what you've already offered up and most likely use some of the things you've used to market. Like the quotes and such. Plus, I also thought the more work you've done up front, then the less you will have to do on the back end.
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Yeah, like I said before. It's nothing we don't ALL know...we just sometimes get ahead of ourselves in our passion to get it all going.

But just know that nobody will take care of your project better than YOU. So take care of it.

-M
 
Martay said:
Just have to say, glad the discussion is so robust. I was talking with friends who work for TP this weekend and we all sort of agree that we're glad TP is in ATL and doing well. However, we wish he'd expand his brand so he wouldn't be as volatile a figure. I mean, less people would mind his movies if there were more diverse visions out there and he now has the power to explore that...and to a small extent he has done that. However, he's got such a platform to REALLY be a studio. As it is, he's only a TP production company no matter how many shows get produced and movies. A TRUE studio would be way more diverse in its content and it would definitely be a historic breakthrough. I think that may be behind some of the harsh critique of TP.

-Martin
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With the latest few posts that I've made to this thread, you would think that I worked in ATL for Tyler Perry. I have to chime in here. I really don't believe that it matters how many different types of movies Tyler does right now. He will be criticized. Viewers don't seem to admit the fact that there is a huge difference between Madea's Family Reunion and For Colored Girls. They won't mention the differences between Goes to Jail and The Family That Preys. It would really make a statement if he submitted a film to critics with a blank cover and less production details (a la Donnie Osmond, Prince, and many others in the past for music). His reputation precedes him and he doesn't allow critics to preview his work anymore. He's the enemy to a lot of people and most of them haven't seen the majority of his work. Spike Lee was done the same way until Inside Man came out. His name wasn't in the forefront for the initial trailers that I saw. They mentioned the producers instead. He took home his biggest box thus far. Then the next film was hardly watched.

I like the idea of being diverse (going from genre to genre with ideas) but it wasn't necessary for George Lucas or Spielberg. It's not necessary for Woody Allen either (although he takes flack for marrying a teenager more than he does for his movie choices). These people mainly stick to their guns. I won't even say that it's a color thing because some people hated the later versions of Star Wars. I'll even throw in the people that dogged Michael Mann for going HD on Miami Vice and Public Enemies and swore to never watch his HD movies again. Sometimes, it's really not about the movie itself. If everyone still had to shoot on 35mm, then a lot of movies would have never been made. I just really believe that he's in a class where he'll always be heavily criticized. With his stature in the industry, it's a great problem to have. At least he's being seen.

"If noboby is talking about you then chances are you're not important."

That brings up another thought for all indie (ultra low budgets) folks here. I think about this a lot. What are you willing to give up to put that first million in your pocket? First 10 million dollars? First 100 Million dollars? Would you mind not being able to go to the grocery store without being followed? Would it bother you to have people jumping your neighborhood property fence? Could you take the crit that TP, Charlie Sheen, and many others have?

Since we are on your thread Martay, I'll direct it at you and hope that many will chime in. Just changing the pace a bit.


Tieuel Legacy! Motion
 
tieuellegacy said:
I really don't believe that it matters how many different types of movies Tyler does right now. He will be criticized.

That brings up another thought for all indie (ultra low budgets) folks here. I think about this a lot. What are you willing to give up to put that first million in your pocket? First 10 million dollars? First 100 Million dollars? Would you mind not being able to go to the grocery store without being followed? Would it bother you to have people jumping your neighborhood property fence? Could you take the crit that TP, Charlie Sheen, and many others have?

Since we are on your thread Martay, I'll direct it at you and hope that many will chime in. Just changing the pace a bit.


Tieuel Legacy! Motion
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On the first note. I'm not really critical of the films he personally makes. Go with it. That's the kind of film he wants to do, and it's fine. I mean in terms of him being a true studio he'd need to really allow others to make movies. Lucas isn't really a studio either despite his power. Spielberg has a studio (albeit not his alone) and he does do a lot of other movies than just his own. And I agree that he's an easy target these days because he's cut off media from reviews, etc. Again, I just wish he'd use his power to create a true studio rather than just an overly large Tyler Perry Production house. I'm looking at it selfishly as an ATL resident. I've always been an advocate of ATL and that if we really were smart we COULD sustain a studio here...however, it would take a Tyler Perry to build from. He could be almost a Walt Disney truly if he were to let go just a little and allow more visions to blossom under his umbrella. Of course it's risky, but it takes risk to build a true studio. I don't mean to critique TP as I think he has his place and has worked hard for his successes. I'm just speaking from the outside and seeing that he's got a unique opportunity to make real history (an overused phrase from the industry...I remember how Diddy would use it in reference to Making the Band like their albums were going to be so significant) rather than just a whole lot of money. He could outstrip Oprah if he were able to let go just a little. However, he's got trust issues in my opinion that prevent that. Here's a recent article that I think didn't really go too far into it, but touched on it some.

As for what I'd give up...hmmm.

I am not really one who believes that you necessarily have to give up much to earn that kind of money. Especially not in the roles that I commonly take on. My mom always says "You're going to be famous..." and I reply with a quick question to her..."Mom, Name a famous Producer? Screenwriter?" Usually nobody comes to mind. Yet, producers and screenwriters make that kind of money when they're successful in Hollywood.

I think I can take the critique (shoot, I get it already) and I wouldn't be afraid of media glare...but I would draw the line at people tresspassing and threatening my family or my safety like that.

I might sing a different tune if I was Tyler Perry or someone with a higher profile but I'm confident I can manage success if I'm fortunate enough to arrive at that space.

-Martin
 
Wassup Martay?

I do understand what you mean and I respect it. Years ago, I came into this thing asking big wigs (or people more famous than me) for a shot at writing for them. Then I wanted to do a movie for them. After a while I realized that they honestly don't owe me anything. I can't even say that they have a responsibility to me as a filmmaker. As a fan, I feel that these famous people do have more responsibility. Then again, it's their life and their art. We dog actors for being in movies that we don't like. More than likely, they didn't know that it wasn't gonna be a success. Even more than likely, they had bills to pay. People are doggin' Perry because he doesn't make the films that they want him to see. I know that you're speaking on a broader sense for Georgia and that's cool. Picture these people that are trying to assassinate his character because of his lack of film school education or his sexuality. I don't blame him for being careful.

He brought in more than almost every entertainer last year. He employs 400 people. There's a lot to be said for that. Even still, he had about 4 writers that turned him into the WGA. I may not know the full story but I see it as people that turned against a good paying job. If they don't like it, bounce.

Something interesting that he mentioned was about control of projects. If you own your studio, you don't worry about it. Otherwise you do worry about it. Do you think that he's getting a lot of submissions for projects from agents? People pitch him all the time on his site but it's brief. He doesn't take open submissions ( and I noticed that Rainforest and 2920 don't anymore either). I'm wondering if he's been in pre-development with anyone that didn't want to give up certain creative control. He does have a lot of money but let's face it, he could lose every dollar by being stupid or overeager. What are the cast and crewmembers doing? They have all of that access and nothing is coming out of TP Studios with their writing or director's credit. If he would trust ANYONE, I would think that it would be those guys. Do you think that he's shutting them off also or do they not have the drive to create from the driver's chair?

As for the Lucas part of it, Lucas Films may not be a studio but it's a huge prodco that is able to put people on the map if they chose to do so. Maybe the only reason he doesn't have a studio is because he can basically work with the studios that he chooses. Bottomline, if Lucas got your script he could produce it with his pocket change. For whatever reason, he doesn't. I don't hear people questioning that very often.

When I mentioned giving up something for the fame, it was not about just trading it off. I was getting at something that you mentioned later. We take the criticism for our work either way so I might as well get paid handsomely for it. I just wanted to know if you're ready for that level of success where you can't get out of your car because of the ATL (or any other city's) paparazzi. And I'm not just calling you out, the question is for anyone. I really think that the lack of privacy will change people. Then after the music is over or after the movies are done, some of the stars hope to be noticed again.

I've been meaning to ask you. What's the deal with Immigration Tango? Is that another movie that you produced?

Tieuel Legacy! Motion
 
tieuellegacy said:
Wassup Martay?

I do understand what you mean and I respect it. Years ago, I came into this thing asking big wigs (or people more famous than me) for a shot at writing for them. Then I wanted to do a movie for them. After a while I realized that they honestly don't owe me anything. I can't even say that they have a responsibility to me as a filmmaker. As a fan, I feel that these famous people do have more responsibility. Then again, it's their life and their art. We dog actors for being in movies that we don't like. More than likely, they didn't know that it wasn't gonna be a success. Even more than likely, they had bills to pay. People are doggin' Perry because he doesn't make the films that they want him to see. I know that you're speaking on a broader sense for Georgia and that's cool. Picture these people that are trying to assassinate his character because of his lack of film school education or his sexuality. I don't blame him for being careful.

He brought in more than almost every entertainer last year. He employs 400 people. There's a lot to be said for that. Even still, he had about 4 writers that turned him into the WGA. I may not know the full story but I see it as people that turned against a good paying job. If they don't like it, bounce.

Something interesting that he mentioned was about control of projects. If you own your studio, you don't worry about it. Otherwise you do worry about it. Do you think that he's getting a lot of submissions for projects from agents? People pitch him all the time on his site but it's brief. He doesn't take open submissions ( and I noticed that Rainforest and 2920 don't anymore either). I'm wondering if he's been in pre-development with anyone that didn't want to give up certain creative control. He does have a lot of money but let's face it, he could lose every dollar by being stupid or overeager. What are the cast and crewmembers doing? They have all of that access and nothing is coming out of TP Studios with their writing or director's credit. If he would trust ANYONE, I would think that it would be those guys. Do you think that he's shutting them off also or do they not have the drive to create from the driver's chair?

As for the Lucas part of it, Lucas Films may not be a studio but it's a huge prodco that is able to put people on the map if they chose to do so. Maybe the only reason he doesn't have a studio is because he can basically work with the studios that he chooses. Bottomline, if Lucas got your script he could produce it with his pocket change. For whatever reason, he doesn't. I don't hear people questioning that very often.

When I mentioned giving up something for the fame, it was not about just trading it off. I was getting at something that you mentioned later. We take the criticism for our work either way so I might as well get paid handsomely for it. I just wanted to know if you're ready for that level of success where you can't get out of your car because of the ATL (or any other city's) paparazzi. And I'm not just calling you out, the question is for anyone. I really think that the lack of privacy will change people. Then after the music is over or after the movies are done, some of the stars hope to be noticed again.

I've been meaning to ask you. What's the deal with Immigration Tango? Is that another movie that you produced?

Tieuel Legacy! Motion
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Both of you guys made good points but this was a GREAT post..
 
tieuellegacy said:
Wassup Martay?

I do understand what you mean and I respect it. Years ago, I came into this thing asking big wigs (or people more famous than me) for a shot at writing for them. Then I wanted to do a movie for them. After a while I realized that they honestly don't owe me anything. I can't even say that they have a responsibility to me as a filmmaker. As a fan, I feel that these famous people do have more responsibility. Then again, it's their life and their art. We dog actors for being in movies that we don't like. More than likely, they didn't know that it wasn't gonna be a success. Even more than likely, they had bills to pay. People are doggin' Perry because he doesn't make the films that they want him to see. I know that you're speaking on a broader sense for Georgia and that's cool. Picture these people that are trying to assassinate his character because of his lack of film school education or his sexuality. I don't blame him for being careful.

He brought in more than almost every entertainer last year. He employs 400 people. There's a lot to be said for that. Even still, he had about 4 writers that turned him into the WGA. I may not know the full story but I see it as people that turned against a good paying job. If they don't like it, bounce.

Something interesting that he mentioned was about control of projects. If you own your studio, you don't worry about it. Otherwise you do worry about it. Do you think that he's getting a lot of submissions for projects from agents? People pitch him all the time on his site but it's brief. He doesn't take open submissions ( and I noticed that Rainforest and 2920 don't anymore either). I'm wondering if he's been in pre-development with anyone that didn't want to give up certain creative control. He does have a lot of money but let's face it, he could lose every dollar by being stupid or overeager. What are the cast and crewmembers doing? They have all of that access and nothing is coming out of TP Studios with their writing or director's credit. If he would trust ANYONE, I would think that it would be those guys. Do you think that he's shutting them off also or do they not have the drive to create from the driver's chair?

As for the Lucas part of it, Lucas Films may not be a studio but it's a huge prodco that is able to put people on the map if they chose to do so. Maybe the only reason he doesn't have a studio is because he can basically work with the studios that he chooses. Bottomline, if Lucas got your script he could produce it with his pocket change. For whatever reason, he doesn't. I don't hear people questioning that very often.

When I mentioned giving up something for the fame, it was not about just trading it off. I was getting at something that you mentioned later. We take the criticism for our work either way so I might as well get paid handsomely for it. I just wanted to know if you're ready for that level of success where you can't get out of your car because of the ATL (or any other city's) paparazzi. And I'm not just calling you out, the question is for anyone. I really think that the lack of privacy will change people. Then after the music is over or after the movies are done, some of the stars hope to be noticed again.

I've been meaning to ask you. What's the deal with Immigration Tango? Is that another movie that you produced?

Tieuel Legacy! Motion
Click to expand...

Addressing the Lucas part of your response in particular, I think you're exactly right. Lucas isn't criticized like TP. I think it's because TP is black and is the only black person that I know of with his own studio. As far as black people are concerned, he's the only black guy that can go and executive produce a movie whenever and however he wants to. Lucas is huge, but think about it in the larger scheme of things. Hollywood and it's major studios are owned and run by white people (for the most part). There are thousands of white executive producers whereas black people know of only one black executive producer. So, obviously more is going to be expected of TP. It's almost as if from now on he'll be expected to produce every African-American film. Is it fair? Heck no! The problem?? More black people need to get behind the camera and produce films. If we had that TP would be less criticized, because he wouldn't be expected to produce every single type of film and story that an African-American audience wants to see. I personally feel like Denzel Washington (for example) should have had his own studio or should have been executive producing movies a long time ago. He's been in a position that really not too many other actors have been in. I'm sorry, but as a black person in this business, you have a larger responsibility to expose your community and help bring along those less fortunate. We do not have the luxury of "letting somebody else do that," because there's not enough of us yet "doing that."
 
The more this convo goes on the more I side with Tyler Perry...I'm starting to think about it, and I'm wondering man...maybe JUST MAYBE...he just wants to make movies. Maybe, just MAYBE he doesn't want to be the Malcolm X or MLK of Hollywood.

Funny thing about people, especially black people...we feel like if someone makes it somewhere it is their DUTY to turn around and open the door for us, "make it easier for us man, you know how hard it was for you"

Maybe the fact that he knows how hard it was for him, is exactly why he's not willing to part ways with his money so easily. We were "spoiled" in a sense by guys like Malcolm X, MLK and even Michael Jackson. People willing to give their OWN life to make sure others are treated fairly. But do they HAVE to? Nope...is it nice, and does it seem like the "right" thing to do? Sure...

But As I sit here at 27 years old, with only a few hundred bucks in my account, I sit and ask myself...if I made a million dollars 10 years from now off one of my films, would I put 250k towards helping someone else who I don't know, make their own film? Probably not. Not to say I wouldn't want them to succeed, but would I want to risk my livelihood to see them succeed when I'm not sure they're ready to go through what I went through? Naw...not gonna lie I'm probably not.

Like you guys said, Tyler is being placed under a microscope and told what types of films to make to represent us, when in reality he never said "I want to be the Moses of black film". His movies are "coonish" by our definition, but by film definition, they're no worse than say...."National Lampoons" or "Naked Gun" movies. But due to the sensitivity of black America, and due to a little bit of "hate"...he's been made into the devil.

I think a LOT of it is anger that Tyler's movies are the only black movies being put out there, and the feeling that we have more stories to tell, but is that HIS fault? Is he controlling Hollywood and saying "if you support other black films, I'm shutting down the Madea operation, and you KNOW yall don't want me to do that ****?" Is he threatening to cripple the economy in Atlanta if someone makes a "Great" black film? Because if not, then he's not to blame for the "unequal representation" amongst film. If anything he is indirectly or directly responsible for the sudden surge in black film makers getting off their asses and trying to get their stories told so that they CAN say we have something other than "Madea" to offer...
 
I agree 100% that Tyler Perry doesn't owe anybody anything. And I have several FRIENDS who earn a decent living working for TP. I definitely just examine it from the outside and wish that he'd move in that direction...and maybe he will in time. However, I'm just afraid that he'll fade before he actually does. He's well-aware of the critiques and priming his audience to insure he can continue (this week he's saying folks are trying to KILL MADEA to his fans in an urge to get them to opening weekend)...and I can't fault him for that at all. I am happy for his success and even Proud particularly since he's doing it from here in ATL.

Marlon is right about the scrutiny. Lucas doesn't have to do it because One less white studio head leaves PLENTY others. It might be unfair but TP is the one who could actually be THE ONE to elevate to a true studio mogul. It's an unenviable position to be sure. And ultimately, he's already been a net positive for African American filmmaking, at least that's my take.

It's kinda funny, I was hanging out at a local film event last night to support the ATL Film Festival and was making the rounds congratulating some directors for their films' making the latest film festival, etc. and Someone came to me and talked about how he thought that someone was trying to sabotage "Step Off"'s IMDB ranking and he didn't appreciate it. He asked if I knew why they'd do that (he was a little buzzed). I confessed that I didn't know why they would but I tried not to let it bug me. It reminded me of the conversation here. How Tyler must think at times of being attacked so viciously at times.

I don't want to come off as anti Tyler Perry...heck I am fairly Pro-TP for the most part. I certainly don't speak ill of his movies publicly or even rank them harshly in IMDB and Netflix. Some of them aren't for me. I usually rent them. I used to go to opening weekend to show support (he doesn't need me to do that any more). However, I do think some give him a little more credit than deserved in terms of true leadership (i.e. the whole debate about his "content" whether comedy or drama being fairly stagnate) but certainly agree that he often takes WAY too much criticism as well.

-M
 
See what you started Martay? People are puttin' some thought up in this thang. It's probably the most intelligent thread that I've ever seen on TPerry on ANY site. At first, I felt like I hijacked your thread but it all makes sense for the larger picture of ATL, Houston, OK City, North Cackalacka, and all of the other places with filmmakers that aren't afraid to fall a little in order to pick up the torch and keep going. Sidenote: I'll admit that I've been a little disappointed because all of ya'll are "son'n me" as they say it in NY (that makes me laugh when I hear em say it). Ya'll have these nice pics and posters up for your profile pics. I think that I only just figured out that I need to create an album first. I'll have to try it at home.

Anyway, I believe that ya'll are dead on in a lot of instances. I won't just dive in and say that it's a black thing but right now he's an easy target. We DO need more TALENTED people behind the cameras. It doesn't help to have people that don't study or people that are only in it for a quick buck. I also know that if they money is generated, Hollywood will come. The Wayans, Master P, Cash Money, Bill Cosby, Poitier, and many others have proven that dollars make them ring your phone.

Being a person on the level of Oprah and Perry is like you're in smoldering heat with 100 people. You find the one cup of water in the field that is amazingly cooled by a fantasy ice chest or something crazy like that. Nobody sees it but you. You pick up the cold one and walk through the masses. What happens? You get MAULED. I feel another story comin' on. Really, he's in a high place. Yeah many of us expect it Marlon, Martay, and CRProd. We expect him to reach out to find us not realizing that we haven't given him the ultimate reasons to do so. Well, I can't speak for everyone because Marlon's 2nd proj just hit and I know Ladd's zombie pic is coming. Also see that CRProd's project is on its way. So ya'll are really in motion and I could see someone like him, Singleton, or Spike offering funds or support. There are soooooo many that say that they wanna make films or that they jsut have an idea that it becomes astounding. I'm on a small level and when I began this journey, I was interviewed on a grassroots show in Houston. I hadn't even finished my first documentary (called "the Breakfast Klub") before people were coming out the woodworks like I won the lotto. At the time it was only 27 minutes and I wasn't looking for DVD or theatrical distro. And yes, some people don't just roll with the punches when you're not interested in their product. They talk about you or don't support which is part of what I was getting at with handling the fame and what you may give up.

CRProd, you mentioned the fact that Perry might not wanna be those key figures like Malcolm, Martin, or MJ (that MJ reference caught me a bit in this instance but you're right). If he did become like them, he would almost be like Spike Lee and I don't feel that he wants to go there. By the way, I feel that it's important for Tyler and Spike to, at least, talk face to face about their differences. I suggested it as a forum for the American Black Film Fest but not sure if they will be successful at pulling it off. It would instantly raise that festival's cred again during these tough economic times and losses of former key sponsors.

There are people that could step up with studios (hoping that none of them have crazy drug habits that took all of their funds). Marlon mentioned Denzel. I agree but my hunch is that he doesn't care to direct/produce as much. I love the ones that he did but they asked him to act in them and maybe that wasn't how he wanted it to go down since it's tough to act and be behind the cam simultaneously. Will Smith is producing like crazy with James Lassiter and I'm sure that he could create a studio. However, with him and Lucas I think of them as mobile filmmakers. They aren't tied to one studio but they produce whatever the hell they want. Actually Lucas doesn't explore outside projects as much. Tarantino doesn't even have a studio but he helps with various projects in and outside of America which makes him that mobile studio type guy. They know that they can get distro so it might not be as important to them. Robert Rodriguez is a different cat though. He remodeled an old set of Austin airplane hangars and moved Troublemaker Studios into it. I'm taking a stab at it and saying that Will Smith and Denzel each have brought in more than Robert in a calendar year. So really I think it comes down to desire with them. We can better compare Robert with Tyler with studios. Both have a niche.

CRProd, you made other excellent points about who to trust your money with. In the grand scheme of things, I don't know you but it would be my guess that after making so much money you'd choose to make more money, right? How do you do that? One way is to help someone else. One key to that is how do you know that you could help someone to help you make more money. Somewhere in there you have to think like that person. Tyler and Oprah put their names on Precious and from what I read they didn't ask for a dime. It boosted the marketing of course. John Singleton worked out a deal that got two movies for Craig Brewer and one for the filmmaker that did Illegal Tender. Spike funds several projects of former and current NYU students. The common threads here are that they placed money in people that were already doing it without major funding (Lee Daniels has made a name for himself and his budget is still higher than ours but by their standards they are low budget). Basically, I think the people that are on this thread are moving in that direction for people to see. It will take timing and maybe a little luck to be seen through the hay in the middle of the barn.

Your turn.

Tieuel Legacy! Motion
 
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