It has been over a year ago a young movie maker from the UK wrote to me asking for help on a movie he planned to make in Pakistan. Since that time he has won some honors and is making his mark in the international movie making community. I always encourage readers to write me and to keep me informed as to the progress of their careers. The following is his latest note to me.

From: ANEEL
To: Ayers Baxter (Roy)
Date: May 24, 2007 9:46 AM
Subject: Boot Polish

Dudes

Boot Polish has finally (AT LAST) been completed Last week 10TH April & Approved by NWV/UKFC.

I would like to thank everyone involved within the making of Boot Polish
and the support and love Coolio aneel x

The Film was shot with a Production Budget of 18K supported by NWV/UKFC
As Part of their Digital Shorts Scheme 2007.

We Shot the film ABROAD, on HI DEF - For 18k yet the Production Value makes the film Look 50k

We hope to get the film screened to as many Film Festivals as possible!

Coolio Aneel Ahmad
Boot Polish Released APRIL – 2007 (Latest Movie)


The following is an interview of him after his previous movie was up for awards.

WAITING FOR SUNRISE Shortlisted for Prestigious Award.
Aneel Ahmad’s previous short film WAITING FOR SUNRISE was shortlisted for the best newcomer award at the prestigious Grierson Documentary awards. WAITING FOR SUNRISE was made as part of North West Vision's Digital Shorts scheme.

An all-consuming passion for making films, Aneel Ahmad started off his filmmaking career by making low budget zombie films with his mates. He was recently selected to make the Northwest's first ever Digital Short Plus film with a budget of $18,000, and he has come a long way. In fact he has been all the way to Lahore, Pakistan.

You have just been out to Pakistan to make your new film as part of North West Vision's Digital Short Plus Scheme. How did it go?

Really well. I applied for funding from North West Vision to make a short film entitled Boot Polish. It was shot in Pakistan and the post-production is being done in the UK. It is about a boot polish kid and a courtesan. People from England came with me to work on the film and we had a really good crew in Pakistan.

I had a fantastic time. The budget was a lot but it's ambitious to try and make a film abroad. There was a dance sequence in the film, which we had to shoot in the Himalayas, we drove about 17 hours to the Himalayas, it was a nightmare trying to get up there.

We pulled it off and it was probably the best experience I've had. You learn all the time when you make films anyway, and I've learnt more now.
Overall, I'm very pleased with how the film has come across.

You are the first person to make a Digital Short Plus aren't you? How does that feel?

I'd been trying to get funding (about ten grand) for about four years and never got it. I finally applied for the main one (Digital Short Plus scheme) and I was successful. I'm very honoured my film got chosen for that scheme.

Did you write Boot Polish yourself?

Yeah, I sent the script around to some big filmmakers and got some really good feedback from them, so I knew the film was good enough to make. I think the UK Film Council's worry was that I wouldn't be able to make it in budget. I said, 'I'll make it for $5,000 never mind $18,000'.

I had already made Waiting for Sunrise (North West Vision Digital Short film) for $2,500 including the tickets so I knew I could go out with the same crew to make Boot Polish. I went to them and said, 'I've got this much money and I need to make this film'. They believed in the film as well.

What made you choose Lahore? Pakistan?

Mainly because that's where I did Waiting for Sunrise. I wanted to do a documentary about street kids, so Waiting for Sunrise was kind of like a research project for Boot Polish.

With Boot Polish, I wanted to make a film that pushes the boundaries. I wanted to take a risk, so we were at multiple locations shooting this film in seven days. We travelled a lot, and I was determined to make it work.

What are you going to do next?

My whole aim is to make a feature film, maybe not this year, but in the next two or three years I'll probably be ready to do it.

I did a Mini Digital Short last year and I did a Virgin Short, so I followed the whole process of making films with North West Vision. They (NWV) helped me out a lot; they gave me the opportunity to work with the funding from next to nothing (like a grand) right up to the $18,000 for Digital Short Plus.

Has this process developed your skills?

Yeah. All of my films are different. My first film, A Man's World, I did it all on my own really, working with mates. Then when I did Waiting for Sunrise, I worked with an independent crew. Now with Boot Polish, I worked with over a hundred people on set. It was a big epic film, I wasn't scared of it because I knew what I needed to do, but for a guy who's only made a couple of shorts and documentaries, jumping into a massive film (even if it is a short) is a big experience.

The help that I got from the UK Film Council and North West Vision, has given me the tools to go on and work on a feature film or work with different people. I've warmed to working with people instead of just trying to work on my own and trying to be a control freak.
Tell me a bit about your background.

I'm one of those filmmakers who has got no education, no qualifications, I think I've got one GCSE in Art and Design. I learnt from getting small cameras and making films that way. I never got the opportunities because people just thought, 'Well you didn't go to University so maybe you don't know what you're doing'.

I'm honoured because I know there are lots of filmmakers who want to get their film made, but I know this script is good.
I always wanted to be a director and a writer.

What is your advice for people starting out in filmmaking?

The first advice I give people, whoever they are, regardless of colour or what qualifications they've got. Everyone gets rejected and it is a hard life.

I got rejected for probably the first five or six years but I never gave up hope. Believe in yourself and your work and believe that people are going to take you seriously. You have to be confident, people think I'm arrogant, and in a way I am, because I'm really confident about how to make films.

I would say for any filmmaker who is genuinely serious about making films, try and make some short films and then from there try and apply for some schemes in your area. Make your film with a grand if that's all you are offered, just make it better than the ones that took more money to make.

When you are making a film, be very professional, - don't swear, don't hurt people's feelings and don't be one of those idiot directors that get so absorbed. Making films is not just about working on your own, if you work in a team and you are respectful to everyone on your set, then they'll do good work for you.

What is your technique to get the best out of actors?

Our actors were non-professional actors; we worked with proper street kids. We were in one the poorest areas in Lahore and we hired a hall out and then we did a lot of workshops with the kids. The only advice I give to any director is to make sure you that you prepare your actors. As long as you work honestly with them and you tell them what you see in the film, and they tell you what they see in the film, then you'll make a better film.

What motivates you?

My happiness is in the process of making films. When you're in the thick of things there's a romance in making a film. If I make a film and someone likes it or can relate to it, or the team has worked really hard in the film and they get something out of it, then that makes me happy.

Because I got money from North West Vision and the UK Film Council, I knew in my heart that I wasn't going to make a cheap film with Boot Polish. I wanted to make a film that looked like it cost about $50,000 - $60,000 to make. So when I was on set, I was thinking I have got someone else's money, and I've got to make the best film that I can make. That's what kept me motivated.
If you continue working harder and harder you're always going to make a better film.

Who has influenced you?

Well I have a few role models - Mike Leigh, Ken Loach.
Satyajit Ray (The Bengali film director) was a great influence in the making of Boot Polish and in my life. For me, his films show an ingenuous authenticity for the portrayal of his characters. The reality of poverty, escapism and fantasy.

I also love Stanley Kubrick. Stanley Kubrick always says that when you make films, you should always try make a miniature film (of two or three minutes) and figure out the mechanics. Later on the process is always the same. So if you're working on Titanic, and you've got, god knows, about 10,000 people on your set and then you've got a film that you're making with 50 people, the principals are still the same.

I love loads of directors; I like loads of period dramas, and romantic films.

Aneel,

Keep up the good work.

Roy

-----Original Message-----
From: ANEEL
Sent: Sunday, December 18, 2005 11:17 AM
To: roy@nohoartsdistrict.com
Subject: Roy Ayers Baxter, Jr
Importance: High

Dear Mr Baxter, ive just recently stumbled on your article in the LIBAS magazine.
I am filming a short film in Lahore Pakistan, and wanted to know more about future projects in Pakistan as I am hoping to shoot a Feature film in Pakistan.
Below latest info for my short film which I can send to you! Also my last doc
Cool an the GANG aneel
Ps I am a British Born and Bread filmmaker.


Aneel,

Congratulations. You are trying to tell stories that have meaning. This is good. Especially, if you can tell them in a compelling and entertaining way.

Some people may think a hard biting tale on child labor in poor countries may not be entertaining. Let me tell you something. Why do we think a shoot out at a grocery store with gang bangers and police is entertaining? Why aren’t we sickened by such an affront to our sensitivity?

Only one reason. Most shoot outs in current movies are fake. They don’t have anything to do with reality. The good guy is rarely ever hurt. We don’t see the paralyzing effects of a real gun shot wound or the truth of most situations of such horror as occurred when a man walked into a grocery store, threatened the store owner and shot his daughter and wife in front of him. The murderer wanted to inflict the most damage to the store owner’s mind and he also enjoyed it with a vengeance as he was seen laughing after the deadly deed. The horror of this event was not put on screen because it is too ugly to show.

These pseudo cop gang banger movies that are suppose to be so real are actually a fraud. So are the filmmakers who do not know what the hell they are doing when they make such irresponsible garbage. Making such fun loving cop and gang banger movies that have little value other than validating violence and misunderstandings among people of diverse cultures, is irresponsible. Most of these movies distort views of life as it really is day in and day out.

Real life is something to reckon with, and we may or may not understand our responsibilities as storytellers living in a world where “have and have not” are common place. Fortunately, there are a few writers, directors and producers like yourself who are trying to do more than drop honey for flies in Hollywood. So, keep up the good work.

Now, if you are in Pakistan and want to work with me, I would like you to stop by my studio in Karachi and let’s chat. Bring a DVD of your work so I can take a look at it. We need people who like telling a good story both fiction and documentaries. If you are well rounded in both areas, there may be a fit. And perhaps we can work something out, together. My cell number in Karachi is 0345-213-4474

Best to you,

Roy


On 12/23/05, ANEEL wrote:

Dear Mr Baxter thank you sir for the reply, I am actually coming to Lahore to work on a short film Boot Polish (attached)

Its a short film. I'm not sure if I am coming to Karachi. I will be in Pakistan on the 20th Jan- 14Feb 2006.

But regardless. My production co-coordinator will call you. We can have a chit chat once I get there.

As since you have been working in Pakistan advice most appreciated regarding facilities.

cool and the gang Aneel
http://www.aneelahmad.co.uk
Funded by the UK Film Council - North West Vision -Under the 6 minute Digital Short Scheme
me@aneelahmad.co.uk
www.aneelahmad.co.uk

Officially Selected by the British Council 2005
Waiting For Sunrise" Winner of the UNICEF UK AWARD 2005
Screened at the13th Raindance Film Festival -Sept/Oct 2005
Screened at the UNAFF 2005 -Stanford University USA (Oct)
Selected at the International Human Rights Documentary Film Festival 2005 (0ct)
Selected at the Side Photographic Gallery Newcastle (Nov) 2005
Selected at the Brief Encounters 11th Bristol International Short Film Festival 2005 (Nov)
Selected at the 5TH Kara International Film Festival (Pakistan) (Dec) 2005

MakePovertyHistory
www.MAKEPOVERTYHISTORY.org

"Waiting For Sunrise" is a professionally executed documentary which communicates the problems and suffering of these brave children in an extremely powerful way. Film-makers like yourself are very important to our industry, bringing to light situations and people often hidden from the world.

Sir Ridley Scott Film Director

(Kingdom of Heaven, Gladiator, Alien, Blade Runner)
www.aneelahmad.co.uk


To: ANEEL
Sent: Friday, December 23, 2005 4:44 PM
Subject: Re: Roy Baxter

Thanks for the info. Keep up the good work as seen on internet at…



Now, for some serious thinking…

I’ve read your new script. Here are a few notes:

A story is a series of events.

Each event is selected by the writer to visually show a character’s choices.

A character chooses to either do something or not to do something. Either way the character makes a decision.

Each decision leads a character to success or failure. This is the case in every well written story, short or long, novel or screenplay.

Therefore, the end is either success or failure. Comedy or tragedy. And the last event must be a decisive act.

Drama is a series of dramatic events. A Dramatic Event is when two opposing forces meet. If they never meet and if there is no clearly identifiable opposition, then the drama is weak.

Therefore, in your work you need to identify a goal for each character and show the hero and heroin moving toward that identifiable goal where opposing forces interfere and make it almost impossible for them to reach. Then and only then will you rivet the audience in their seat and give them something to hang on to while they are spending their god given time to watch your movie.

A second note… you wrote:

After a moment we see what appears to be a girl. A young (blind) courtesan aged (67-23) LALITA *(8th century AD Hindu ruler of Lahore Lalitiditya) with beautifully made eyes. (Egyptian Queen)

I am confused. I do not understand this descriptive paragraph. Do you mean there is a picture of a courtesan aged 67 years old and a reflection in the picture is of a young girl 23 years old? Do you mean she looks like an Egyptian Queen but in actuality she is an 8th century Hindu ruler? I never knew Hindu rulers and Egyptian rulers were similar. Are they? Or do you mean that her name LALITA is a shortened version of the name of an 8th century Hindu ruler? How do you intend to show the audience this information? If you have no means, then why put this in the script? No one will know unless you show or tell them. If it isn’t important enough to show or tell, then why are you writing this in the script? It is interesting information in a historical sense but what does this information have to do with the story? Is she a reincarnation of this Hindu ruler?

I can understand you like to use images that are impressions suggestive of certain conditions the main characters face. This can be impressive in a very short time frame. However, when you ask the audience to watch your movie intently for over ten minutes, then you risk losing them unless you begin to tell a story. A story may have impressive moments in it but a story is not just a series of impressions. A story has an identifiable form… let me clarify this…

How can we tell the difference between a story and a description, poem, essay, lecture, speech, dissertation, examination, proposal or instructional manual? We can distinguish the difference between them and there is a reason.

What our minds identify as a STORY is a definable form that is immediately recognizable by all audiences the world over, whether or not we can explain the difference. When a teacher, lecturer or President gives a speech, we can recognize the difference within the speech if and when he begins to tell us a story and we know when he ends the same story within the speech and then goes back to speaking the speech. Why do you think this is true? Because a story has a definite identifiable form and we recognize it, immediately.

ALL STORIES have a beginning, middle and ending. That is inherent in every story. This will never change. And each of these three elements are identifiable because of their clear cut structures.

Therefore, when we make a movie that tells a story we must tell the story in its recognizable form. Otherwise, we will be making a motion picture essay, speech, collage, exposé, travelogue or a bad movie with a poorly formed story.

So, since you still have time to improve the script before you shoot the movie, I suggest you write down a few sentences and answer them with an action scene.

AN ACTION SCENE IS WHEN A CHARACTER HAS TO ACCOMPLISH SOMETHING AND ATTEMPTS TO ACCOMPLISH IT.

Ask this question… How does the audience know the character has something to accomplish?

If the audience doesn’t know the character must accomplish something and if the audience has no idea what the character has to accomplish, then you must find a way to show or tell the audience what the character must accomplish. And you should show it as soon as possible at the beginning of the story. This is storytelling.

Does the character accomplish it?

How does the audience know the character accomplishes it?

Does failure or success change this character for better or worse?

How does the audience know this?

Reread the above repeatedly until you understand the significance of what I am explaining. It will help you write screenplays that will find success.

Call me when you reach Pakistan and we can talk in detail, if you so desire.

Roy      (TOP)

Roy is a screenplay doctor, writes and rewrites major feature motion pictures, teaches a seminar on story structure and writing in all forms; including commercials, short stories, novels, plays, musicals, screenplays, documentaries, histories and lyrics. And he is in the process of writing a self help book for writers.

Copyright 2005 Roy Ayers Baxter, Jr. ALL RIGHTS RESERVED. Reproduction of any kind, without the expressed written permission of the copyright owner, is strictly prohibited.

From: John Pacilio
Sent: Friday, December 02, 2005 10:31 AM
To: roy@nohoartsdistrict.com
Subject: contact
Hi
I will be creating a travel video in Italy but, once done, I don't know how to get it on TV. Any suggestions for me?
John


John,

You need an agent.

Or you need a contact with someone in the industry who has connections.

If you have none, then you must research agents, production houses and TV networks like the majors, Warner Bros., ABC, NBC, CBS, Discovery, Disney, National Geographic, Nick, History Channel, BBC and all the others including foreign channels. You can even try the internet companies. For instance, Italy will have an Italian tourism board or some similar organization and they may want some work done for them and they may like what you are doing.

You can also research production companies who make travelogues. Rent a DVD or watch a travel video on any station and take down the name of the company and distributors who produced and distributed it. Contact them.

If you have no direct contacts, you will have to do a lot of research and a lot of foot stomping contacting everyone you can find to take a look at your work.

The shortest route is an agent who already has contacts or a producer who needs what you have.

There is a slight chance that you can enter it in film festivals. That is a way to get some action. But you need people who are in positions of power to see your work and most doors are shut unless you knock them down or know someone inside who knows you.

You have a lot of work to do. Tell me how you succeed. Many people are in your shoes and are attempting the same thing. Many people want to break into the business. “Break” is a good word because it is like breaking into a big powerful and closed bank. But, finding a way into it is exactly what you have to do.

Don’t give up. That’s the quickest way to lose.

Good luck.

Roy


From: John Pacilio
Sent: Friday, December 24, 2005
To: roy@nohoartsdistrict.com
Subject: contact

Roy,

Thanks for the input, I really appreciate your response.
Can you reccommend an agent who can shop my travel video once it is done?
I also have no idea how this whole process works and the financial costs and returns.
Any leads would be helpful......John


John,

I don’t know any agents who deal with travel videos. You will have to do some research yourself on that one. When you find some, please inform me and I will post them on AskRoy by printing your letters.

Many people around the world read my column and most are in the business. So, your letter may catch someone's eye if you start doing some due diligence and search for agents, producers and networks who may be interested in using your work.

Also, contact the government offices that promote tourism and trade. They commission people like you to promote their country. Just today, in the business section of the major newspapers in Pakistan, the Minister of Tourism and Trade placed an ad for marketing promoters and documentary producers to apply for government funds to advertise and promote Pakistan's exports and imports.

Opportunities do exist throughout the world. All governments have an export and import office and a tourism office that need media professionals to promote their countries assets. So, contact the government offices. They may need what you have to offer.

Good luck,

Roy      (TOP)

Copyright 2005 Roy Ayers Baxter, Jr. ALL RIGHTS RESERVED. Reproduction of any kind is strictly prohibited without the expressed written permission of the copyright owner.
 

From: Guy Fusman [mailto:guy_53@hotmail.com]
Sent: Monday, June 06, 2005 11:40 AM
To: roy@nohoartsdistrict.com
Subject: TV Show Filming in My Business This Weekend

Hi Roy,

The television show "What Not To Wear" is going to be filming an episode in my partner's hair salon in Seattle. No one from the salon is going to be on camera but they are telling us that they will give us a credit.

Since we are actually closing down during business hours for the filming I am thinking that asking for compensation or at least an on camera mention of the salon name would be fair.

Is there an industry standard for this sort of thing? What should I ask for?

Thanks,

Guy

Mode, Inc.
modehairart.com

 

Guy,

There are no definitive standards, except, in my book it must be fair play on both sides. Ask yourself, “What do I have to gain by closing down my business? Is it worth it?”

You can certainly calculate how much it will cost you and your business in time and money, including payment for employees, rent, lease, electricity, phone, water, etc. and your own normal loss of profits you will incur during the shooting. Plus clean up etc.

I would expect, at the very least, to ask them to mention your generosity in providing the facilities. If they do it on air and in the credits, I think the publicity is well worth the inconvenience of closing your shop. In other words, get them to give you more than credit in some long list of credits. They should have your name prominently shown on screen as the shops name. Also, it is not unreasonable to ask for a verbal on camera “thank you”. They may turn you down; but even I, as a writer, could find a way to include your shop and even your name in the dialogue.

All productions have a tight budget. So, be fair to them. Don't ask more than you deserve.

If they damage anything, ask them politely to replace it.

Good luck.

Roy       (TOP)

Sent: Wednesday, November 09, 2005 8:39 PM
To: Roy@nohoartsdistrict.com
Subject: Hounddog

Hello,

Maybe you can help me with one doubt I have I´m a big fan of robin wright penn and I´ve been following her movie "Hounddog" for may years.

It seems that the movie has fallen down a lot of times. But now I´ve seen a web of you, about future projects If you don´t mind, could I ask you a question???

I´d like to know, if it´s possible, the status of the movie. Is the movie going to be made soon? When? Is it sure?

A thousand of thanks for your help And sorry for my regular English but I´m from Mallorca (Spain)

Talk soon

JOSE

Jose, 

You never can tell. This business is fraught with irregularities as you know. They are frustrating and many times self defeating. Everything is a risk and depending on the project and timing at any moment things can be a “go” or a “no go”. All we can do is keep making steps toward our goals one step at a time and eventually we reach a place where we feel we have accomplished something. 

One thing is for sure, risks can be reduced if there is talent, money and an organized unity toward a goal. 

Let’s wish every good project gets flying, soon. We all need good luck, as I ‘m sure you agree. 

Roy       (TOP)

Copyright 2005 Roy Ayers Baxter, Jr. ALL RIGHTS RESERVED. Reproduction of any kind is strictly prohibited without the expressed written permission of the copyright owner.

To: roy@nohoartsdistrict.com
Subject: behind the scenes work

Roy,

I'm looking to score a job working behind the scenes, possible in set design or custom/props. How can I land my dream job? Please help!  

Sincerely, Miguel  

Dear Miguel, 

You didn't say whether you had any training or previous work behind the scene. I will assume you haven't or have had little. 

4 things to do; 1) Go to school in a theatre or film class at any community college or major University. 2) Find a local theatre group near your home. Volunteer to help them and learn what and how it is to be working behind the scenes. 3) Apply for work at a theatre or film studio. Do homework by looking up on the internet ABC, CBS, NBC, FOX, 20th Century, etc. employment and see what jobs are available. Look at the job qualifications. Apply where you think you may qualify. If you don’t think you qualify then get training in those areas where you want to be and afterwards, reapply. 4) Hunt for any independent film or TV production and ask to be an apprentice or volunteer. You won’t get paid but you will learn how to do a job. Then after some experience you will know how to do a job, what you want to do and you will also know a few people in the business.  

Knowing people in the business is very important. Asking them to help you is also very important. NO one can make it on their own. You will need help. Even Paris Hilton needed riches, a famous family name and friends in high places before she could ever get to be where she is today. So, as you begin to volunteer, show how good you can be and then prove that you are serious and want to be the best at whatever you do. That attitude will win you a lot of friends and some may just help you.  

Good luck and tell me how you are doing.  

Roy      (TOP)

Copyright May 2005 Roy Ayers Baxter, Jr. ALL RIGHTS RESERVED. Reproduction of any kind is strictly prohibited without the written permission of the copyright owner.

Roy,
I have recently graduated with a BA in art and would like to get into film and TV. How do I get to be a production artist?
Jane - Sun Valley, California

Jane,
Check the trade magazines. Look to see if there are any student or independent films. Also, check the universities with film classes in your area. Bug people who have connections in the biz. Get names and call them. Send your resume. Be prepared to show your work. If you do not have any experience in films, fake it. Design drawings for a TV show you know or ideas for a film or cartoon. These sketches may help. The idea is to get an interview. At the interview, tell them you will do anything to be on the film and help in anyway you can. Do not expect any money in the beginning. I know many talented artists who have received awards and they are not working. So, you must be willing to work for nothing on a student and/or low budget film.