Pamela Jo Bowman

We created this ad for a small publication in the Mesa, Arizona area. It will be out next week. I posted it and sent out the link to some friends for feedback and before I woke the next morning someone had already purchased a copy of The Mormon Colonies in Mexico DVD.

All along this journey, I kept encountering people who were interested and wanted to know when and where they could get the finished product. I kept wondering if there would ever be a finished product. Well, now they know. In addition to wondering if it would every be completed, I have certainly had moments over the last 10 years when I wondered about relevance of all of this. It is just history! Who really cares? I admit there were times I didn’t. Then I would start reading something and the project would haunt me some more and I would get back to work on it.

I think I would have just kept researching for the rest of my life if one day Cyndi didn’t say, “Enough already. Let’s get this thing done!” So after my ten-year incubation period, about 30 days ago, we started compiling all I knew. She took all my books and became absorbed in the history herself. She found the story fascinating. In discussion, we decided the best format for the story. We traveled to local historical libraries and found a wealth of photos to breathe life into the words we had been reading. We found more journals and histories (thank you Uncle Don!) to add even more depth and diversity to the story. In truth, I could keep researching forever because the amount of information about the settlers and their descendants really is endless. We have discussed the possibility of “sequels” for each individual colony because it seems that there are dozens of powerful and inspiring stories in each colony. We hope and invite others to share their stories about this place and time. To help the sharing, we are establishing a “wiki” site for that to occur. (Like Wikipedia, everyone can post stories and photos and movies for others to see and enjoy!)

As for me, I guess I’ve carried this baby long enough. It is time to send this project out into the world. I am ready to let it go so that others can take it in.

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I had a teacher once who asked the class why they wanted to be an artist. Some responded because they wanted to make money. Her response to ANY art student whose goal was to make a living at art was, well, something like, if you want to make money, you should go into business or law or something like that. She continued on to say that the only reason you should choose art as a way of living is for the love of it. She did admit there were a few who made money, a ton of it, but usually they were already dead. She suggested artists usually have other jobs, mindless jobs, that provide the time and energy to pursue their passion. This teacher is now my business partner. We are the struggling artists because we passionately love our art form, writing. Our primary motivation is not to make money, but we are convinced we will. We believe in our stories. We love the process of writing them and we believe in ourselves and our ability to write. We know that when we pitch our stories to the powers that be that they will buy them, we aren’t convinced we will sell them. It is a control issue.

I know people who are artists. They have other jobs that steal their time and energy away as they purchase the necessities of life. They talk about carving out time in the summer or in the evenings to paint or compose or write, but they don’t. They dream of it as they drive to work, they set goals at their lunch breaks to accomplish a little bit of art work, then they drive home exhausted and their will has been lost. They like the “idea” of being an artist, but the reality of actually working? Not so appealing. Some argue that you need to take care of your responsibilities and I agree, sort of. I asked a married couple if they could do anything they wanted what would they do. They started to think about it and then pulled back. “We have kids and a house and we can’t just give up all of that to pursue our own dreams! What if we failed?” My response? “What if you succeeded?!”

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Last week we decided to post it. We couldn’t resist anymore. We had no idea within one week it would go viral, but it did. We had decided to start posting some other funny moments, and then we saw it. Someone or a lot of someones put their watermark on our clip. What is up with that? We don’t care if you want to share what we share, but for Pete’s sake don’t try to own it! Kind of let’s me know how artists feel when others down load their creation. Come on people. Don’t you feel wrong? For those of you who would like to see a small clip of a crazy guy check out on YouTube 50 cent Zambian. We think he is hilarious. Share if you like, but don’t call it yours. Don’t imply it’s yours. It isn’t. There ought to be a law. Oh wait there is. Obey it.

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BY PAMELA JO BOWMAN, MESA, ARIZONA — Two years ago, I began entertaining the thought of going to Africa on a film crew. I remember casually mentioning it to my family and slowly talking to my friends about the possibility. I REALLY wanted to go and have that experience. It seemed that the verbalization transformed the possibility into a reality.

Today, Jabbes Mvula, the director of the Zambian feature, BAD TIMING, came to watch the final cut of the film and he was happy, pleased and excited. Like me, he spoke to Cyndi about doing a film in his country and now it has become a reality. Speaking what you want to people who will support and nurture your dreams makes everything possible.

Two years later, I might have another opportunity … we’ve been asked about the possibility of producing a film in Zimbabwe and there’s another opportunity around a non-fiction film that will be shot in Singapore! How cool is that? Another film in Africa, perhaps one in Asia. Hey, that would be great! I will know more this week and then decide if this is something we want to pursue. If it is, you know I will share it. Then I know it not only can happen, but will happen!

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BY PAMELA JO BOWMAN, MESA ARIZONA - Sundance started yesterday. I am not there. Last year at this time, I was experiencing Sundance for the first time. It was an interesting experience. I had lived in Utah for several years when I was younger. Can’t beat the Utah snow! Visiting Utah as a filmmaker was a completely different experience.

I read as much as I can about what movies are being picked up. Who is up there promoting and who is up there being promoted. It is, after all, a business. With the writers strike, I have thought a lot about the current state of the industry. I would imagine that those who have independent films ready to be distributed are finding a more captive audience than in years past. Hey! That would be US! Cool.

It would be kind of cool to pop up to Park City for a couple of days for the producers seminar or a couple of documentary panels. Last year, it was quite an education as I listened to filmmakers firsthand and watched what was being produced. With the availability of information in the media, I don’t have to spend the money or time to get to Utah to get the scoop; but, I also don’t get to feel the energy, encouragement and inspiration from other filmmakers. It is always fun to hang with those who share your interests. Last year, I said I wasn’t going back until I have a film showing. So it seems that I am keeping my word. I need to just shut up!

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BY PAMELA JO BOWMAN, MESA, ARIZONA — I spend most of my days editing. I try to get one section done every few days. Yesterday I was so pleased with my progress. The section I was working on was a scene where the actor actually repeated his lines pretty accurately take after take. Then I went to work today. In the morning, I like to review what I did the day before to inspire me and get me going. I was stunned with what I saw today. Yes, the dialogue was cut well, but I had failed to see the continuity in the actor’s wardrobe! He started with his suit coat buttoned and as the day and scene progressed his clothes became more and more casual, his coat went from buttoned to unbuttoned, his shirt went from smooth to wrinkled, his face grew more tired and the microphone wire was hanging out for all to see! For everyone except me! The editor. ARGHHHH. So, today, I started the same scene all over again.

What a waste! Or was it?

Filmmaking is so revelatory. You watch the characters and they become your friends. You begin to relate certain characteristics to people you know or even to yourself. You experience disappointment when your favorite character lets you down or does something that doesn’t work in the scene you’re trying to cut. You adjust and forgive their weakness because you have come to know them.

If only life were as easy as editing. If people do things you don’t like, you just cut out what is bad. You make the scene work the way you want it to work. You make the characters behave the way they should. If characters disappoint, you simply hide their mistakes. Wouldn’t it be nice if we could do the same thing in real life that we do in reel life? Just leave the parts of life that don’t work on the cutting room floor.

But, today, I was reminded that filmmaking is like life. Yesterday’s solution became today’s mistake. No matter how hard you work at it, mistakes still happen. If I had it to do over, I might cut yesterday out but then I wouldn’t be as aware of continuity while editing tomorrow.

Waste? Not.

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BY PAMELA JO BOWMAN, MESA, ARIZONA - Tonight, I was able to view the Grand Prize winners of last year’s PBS/ITVS Independent Lens Online Shorts Festival. I watched “ Paris, 1951” and “Someday Flowers Bloom.” These two films are works of art and works of love.

Viewing them reminded me of my hope and reinforced my commitment that more voices be heard. I believe the movie audience is hungry for good stories told in a unique way from a distinctive, individual point of view. As with a good book, the audience is able to find insight into themselves in a story that opens the doorway to the life of another. Our human ability to empathize and relate makes it become a story of self.

I believe good movies will always find an audience in America. The audience is becoming more sophisticated (although we also have shorter attention spans). This can create a quandary, especially if, as an artist, you want to …eat. Digital filmmaking has reduced the cost of making films to the point that more storytellers are choosing to tell their story based on the joy of telling a meaningful story rather than just for the joy of making the money. Eventually though, a filmmaker has to value his or her work enough to charge for it. To finally realize that your work has worth is a day and moment worth documenting. It is a powerful moment that disspates quickly, but slowly comes back to linger longer until an artist sells his work more frequently.

Visualize a world where everyone has the time to use their creativity in some capacity. Envision the everyday joy of living and creating. As I work on the films and write screenplays, it is what I experience every day. Everyone should be involved in some capacity of creating their works of art! If done with pure intent then they are works of love. And most people recognize that when you are in love everything and anything is possible.

For your viewing enjoyment, PBS/ITVS Online Shorts.

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BY PAMELA JO BOWMAN, ARIZONA, USA — There are many lessons I have learned and some I continue to learn from my experience working on the FilmZambia project. The number one lesson? Always use Other People’s Money (OPM), preferably a studio’s money or a distributor’s money. What I am still trying to learn is how to get that money.

Of course there are a few exceptions that encourage filmmakers to believe they will be a member of a rare and elite club. The successful self-financed film members include Morgan Spurlock (SUPERSIZE ME), Kevin Smith (CLERKS), and Robert Townsend (HOLLYWOOD SHUFFLE). These exceptions tease and titillate filmmakers. The truth is, is every filmmaker believes in “his or her story.”

Their story, their cinematography, their editing, their actors. They believe every element will help produce a successful piece of art. With that belief, they are bound and determined to get the money from whomever they talk to including their families, their friends and even … themselves! There are THOUSANDS of filmmakers who follow that film-financing path into a very dark tunnel. If a distributor or producer gets behind your film, chances are that they see an opportunity for financial success. The problem? First-time filmmakers can be quite naive. They are in it for the art. Yes, they want to make their movie, and they want to earn enough money to buy … more equipment to make another movie. Eventually they begin to understand that there is a business involved in the art of filmmaking and everyone has to eat food, sleep in a safe place, and buy and use TIDE.

It is hard to accept the experience and decision of the money people when they say “no” to your brilliant story. In our case, it was even more difficult. We were students. It’s impossible to get distributors to fund educational projects ahead of time. They want to see the finished product to know if the story hangs together because, well, let’s be honest, it’s students learning by doing. They’re cautious about giving money to that sort of thing. Especially if it is the very first of “that sort of thing.”

So, how did Cyndi end up in the rabbit hole that she did? Did she not preach and teach all of her students to avoid this very hole? This is what she said, “Surely I know the rule about OPM. If there’s anyone who knows this rule, it is me. When I told my filmmaking nephew that I was well over $80,000 on these two films and was probably going to go over $100,000 by the time they were done, I thought he was going to have a stroke. ‘Are you out of your mind?’ Jason gasped. ‘You used your money? Is that why you sold your house?’ he asked.” Didn’t really answer the question did it? To be honest, it was a bit complicated. Hey Cyn! This would make a great movie!

Well, there’s nothing like being called on the carpet by someone half your age. And, if Cyndi wasn’t feeling embarrassed before Jason started lecturing her, she surely got there after I put together this little piece.

• Cyndi’s Houses (quicktime)
• Cyndi’s Houses (swf)

Don’t shoot the messenger! She sat and watched this and started to laugh. She actually has gotten to the point of being amused by her exuberance for the film. I mean to shout, “What are her alternatives?!!” Believe me she has shed plenty of tears. She cries like a giraffe. There is no sound! How very odd. In the middle of the day, I will turn to her work station and find tears rolling down those cheeks! Her motto now is, “If you decide it’s a good idea to go to Africa to make two films (and encourage 18 faculty and students to come with you for the learning experience of a lifetime), make sure the OPM you get is waaaaay more than a small educational grant that only covers the flight for about a third of the crew. Unless you don’t care if anyone ever actually sees the films that you made..”

If there is anyone who wants to invest in two middle-aged women with bright ideas, tons of ambition and enough energy to get the job done, well get in line or get out of our way. We are comin’ through. Thought I might try a unique approach to funding. Is it working for you?

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BY PAMELA JO BOWMAN, MANHATTAN, USA — I woke up today and, like all days, checked my email. Being a member of the press covering the festival at Tribeca I receive numerous emails every day. Today was no exception. As a member of the press, my job is to attend the press conferences, the press screenings and the general audience screenings. All three have a different feel or nuance.

The press conferences allow the press to ask questions of the writers, actors, producers and directors. It can be a more intimate setting that allows you discuss the motivation of the actors and filmmakers. It can also be far less intimate because, at these conferences, the goal is to sell the film. The passion and commitment to the film can create a stir and, as press, we can influence the ultimate success of a film by the films we choose to cover.

The press screenings allow the press to view a movie without the distraction or influence of the paying audiences. The oddest thing is that press screenings at Tribeca are extremely small. Most are very poorly attended with just a handful of press present. While it encourages objectivity, it doesn’t do much to promote enthusiasm because the theater is so “dead.” At other festivals, the press screenings tend to be better attended. We have been at Tribeca press screenings with as few as four (4!) members of the press in a theater that holds 400.

The audience screenings are typically packed. You can feel the excitement and anticipation for the film. A lot of this excitement or lack thereof, has been created by what the press has written or not written about the film. The press can and does influence the interest and support of film. So you would think allowing the press to do their job would be a priority. (See Cyndi’s post about the value of the press from a distributor’s point of view for more on this.)

Today our email from Tribeca informed the press of a new procedure to acquire tickets to an audience screening. So far we have been unable to even get into a single general audience screening. The new process is that we need to ask 24 hours prior to a screening for tickets. They let us know in the morning if we will be blessed with tickets. Oh boy. Since there wasn’t enough time to request tickets, we decided to play it safe and go to a press screening of a film we’d heard really good things about. (Sundance pal, Levi Elder, told us THE POUGHKEEPSIE TAPES was one of the best films he’d seen.) We can always get into press screenings so we decide “better safe than sorry.” At least we could be certain we’d have something to write about.

The screening was set for a new venue, the Clearview Chelsea West. Being a little tight for time, we hailed a cab headed north. We arrived with at least 15 minutes to spare. We were informed, however, for unknown reasons, that the film ad been removed from the list for press. We were curtly informed that it would not screen. Would have been nice to know. Could have saved 10 bucks on the taxi and slept in. But, then, a blessing in disguise, we wanted somewhere to sit so we went to the TOWARDS DARKNESS Press Conference (see blog entry) and talked with some very talented folks. It all turned out in the end.

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