SAGIndie

…but everyone deserves to see this oldie but goodie: Download Worst_Album_Covers_Ever.pdf .

Can I borrow a feeling?

We laugh now, but are we going to be above this after 10 years of struggle to fufill our dream?

Just sayin’.

The Hollywood Reporter Risky Business Blog has a good feature on one of my favorite films of all time.

Reds is a great film and if you haven’t see it I encourage to check it out.

Of course, the guvmint will add you to a watch list.

This month, SAGIndie puts the focus on “Red Doors”, a diversity film that’s
tearing up the festival circuit, raking in good reviews, and has nailed down a
distribution deal with Warner Bros. Home Video.

We recently talked with actor/producer Mia Riverton about wearing two hats
on set, chasing down the money for the film, and the importance of diversity film
in today’s market.

Who is Mia Riverton,
and how did you become interested in filmmaking?

I have been a performer since I was very young – singing,
dancing, playing piano, and acting professionally on stage and screen. After attending college at Harvard, where I
performed with the American Repertory Theater, I started acting full-time in Los Angeles. I became friends with a lot of
behind-the-scenes folks – writers, producers, directors, etc. – and realized
that in addition to performing in other people’s projects, I really longed to
be a part of the creative genesis of my own material as well. In addition, I’ve always been a big film fan
– I especially love old movies with strong female characters (GONE WITH THE
WIND, BREAKFAST AT TIFFANY’S, ALL ABOUT EVE, etc). Those were the movies that inspired me to
pursue a career in show business.

Can you talk about
how the project was conceived?

I attended Harvard College with Georgia Lee,
the writer-director of RED DOORS, and the two of us discovered that we shared
common backgrounds (we are both the children of Chinese immigrants) and a
mutual love of film. After Georgia graduated, she went to work at a
consulting firm called McKinsey in New
York. She took
her summers off to make short films through the NYU intensive film program, and
her first short was seen by Martin Scorsese – he was so impressed that he later
invited her to apprentice with him on the set of GANGS OF NEW YORK and mentored
her subsequent short films. Even though
I moved to LA after graduating, I worked on some of her short films, and we
always talked about making a feature film together – I wanted to work with her
as a director, and she wanted to work with me as an actress and producer.

In the fall of 2003, Georgia enrolled at Harvard
Business School
at the insistence of her parents. I
convinced her to take a leave of absence after one semester and come make a
feature film with me. In January of
2004, she moved to my house in LA, where she wrote RED DOORS at my kitchen
table. We persuaded our third partner, Jane
Chen, to quit her job and come produce the movie with us– Jane was another
friend from Harvard who was passionate about film. We raised the $200,000 budget and were in
production four months later.

The story of RED DOORS is quite autobiographical – the
characters are inspired by Georgia’s
real friends and family, several of whom play versions of themselves in the
film. For example, Georgia’s
real-life youngest sister, Kathy Shao-Lin Lee, plays the youngest sister in the
movie (“Katie Wong”). The character I
play (“Mia Scarlett”) was written specifically for me.

Our goal in making this movie was to tell a coming-of-age”
story about a family that has grown apart and become disconnected, and the
journey they take as they stumble along and attempt to reconnect with one
another. The fact that the family is
Chinese-American is secondary, though it lends the film a lot of rich detail
and a sense of cultural specificity.

What was it like
producing and acting in this film?

The dual role I played on RED DOORS (actor-producer) was
both the most challenging and most rewarding experience of my professional
life. The challenges primarily arose on
set, especially on days when I was working as an actor – the demands of production
don’t go away just because you have to be “in character” on a particular
day. For example, on one day I found
myself having to recast a part at the last minute because an actor dropped
out. I was working as an actor that day,
so in between takes I was on my cell phone trying to solve our casting
problem. It was fairly stressful – I
definitely had to learn to compartmentalize and be very disciplined, focused,
and flexible as both an actor and a producer.

The rewards of acting in and producing the same project are
many. I felt more committed as an actor
because I had helped develop the script and my character as a producer – and I
also had a deeper relationship with the director and the entire creative team,
so the emotional investment was higher. By the same token, as a producer I felt much more committed to seeing
the project through as best I could because I knew that the quality of the film
would reflect positively on my performance an actor.

How did you secure
financing for the film? Was it a tough sell?

We kept the budget small enough that we were able to raise
all of the money through private equity – friends and family, and friends of
friends and family. It was a tough sell
mainly because the three of us had never produced a feature film before, and it
was an ensemble dramedy about an Asian-American family – not a horror/action
film or a project with big movie star roles. Everyone who invested in the film did so because they believed in our
team, our script, and our passion – and they felt that this particular story
needed to be told. Many of the investors
are part of the Asian-American and/or LGBT communities, both of which are
sorely underrepresented in mainstream cinema.

What has the festival
circuit been like? Have you enjoyed the experience?

The festival circuit has been a wonderful, once in a
lifetime experience. Screening RED DOORS
to diverse audiences all over the world has opened our eyes to the broader
appeal of the film. People from different
cities, cultures, ethnic backgrounds, and all walks of life have enjoyed the
film and told us they relate to its themes and characters. We never realized that it was such a
universal movie until we heard so many different types of festival audiences,
juries, and critics praise the film during its festival journey. And, of course, I love to travel to new
places – so that was great!

Were your festival
wins instrumental in getting distribution for your film?

Our festival wins were key in getting distribution for RED
DOORS – our first big win was Best Narrative Feature at the Tribeca Film
Festival, and we went on to win a prize for Best Ensemble Acting at CineVegas
and both the Audience Award and the Grand Jury Prize for Screenwriting at
Outfest. Any buzz sets you apart from
the multitude of independent films that are made every year, and we were lucky
enough to win multiple awards at several different festivals – so I think it
made distributors sit up and pay attention to the movie, which is otherwise not
an easy sell (again, because it is a story about an Asian-American family and
has no movie stars, nudity or explosions).

You guys have
garnered much positive critical attention. How important is that to you?

Much like the festival awards we’ve won, our positive
reviews have helped us at every stage of the game – they certainly helped
generate interest from distributors when we were selling the film, and now that
RED DOORS has been theatrically released, our reviews help bring in audiences
as well. As much as my producing
partners and I try not to care personally about reviews, good or bad, we all
acknowledge that they are powerful in terms of driving interest in the
movie. Roger Ebert saw our film at the
Hawaii International Film Festival and gave us a positive plug – that is
invaluable to films that might otherwise go unnoticed by the general public.

Do you feel like this
is a niche film, or does it have wider appeal?

RED DOORS may appear on the surface to be a niche film – an
Asian-American film and a queer / LGBT film (because it includes a lesbian
storyline). However, as our festival run
has shown us, the film actually transcends all lines of race, gender,
sexuality, nationality, age, etc. Everyone can relate to the story, because everyone is part of a family,
and they recognize and understand those relationships and issues. All of the characters are struggling with
challenges that are part of everyone’s human experience – romantic angst,
professional dissatisfaction, adolescent rebellion.

As we have screened RED DOORS for diverse audiences all over
the world, what we’ve discovered is that everyone finds an entry point into the
film – whether it’s the character of the father, the teenage daughter, the
lesbian sister, etc. – and they get caught up in the family’s story and often
forget that they are watching an “Asian-American” film. We’ve had so many people from different
backgrounds (a Jewish retiree from Long Island, a young woman from Kazahstan,
an Italian matron, etc.) tell us after seeing the film that they felt we were
portraying their families on screen!

What kind of
expectations do you have for the film’s box office prospects? Will you make
your money back?

We were happily surprised that we were even able to land a
theatrical distribution deal, so we didn’t really have any expectations for how
well we could do at the box office. We
certainly hope to have a successful run in theaters, or at least we hope not to
lose money on the theatrical release (which most movies do – both independent
and studio films)! If we can last a few
weeks in theaters in the major markets and open in a few other cities around
the county, we will be very happy. Between our theatrical release, DVD, TV and foreign sales, we are in
good shape to make our money back and turn a profit.

Do you think
producing is something you will pursue, or is this a one-off deal?

There are many stories I would like to tell, so I definitely
plan to produce more film and television projects, though I will need to
balance that carefully with my career as an actor (and, more recently, a writer
and singer-songwriter). It takes an
unbelievable amount of work to produce a feature film, so I will only commit to
projects about which I am truly passionate.

This film features a
very diverse cast. How important is to you that there are films that tell many
different stories, the kind of stories that Hollywood may overlook?

My raison d’etre,
as far as my professional life is concerned, is to be involved in projects and
help give a voice to the stories that Hollywood usually overlooks – unique, inspiring, perhaps socially conscious stories with
diverse casts and interesting perspectives. The kind of storytelling that interests me tends to come from the
margins, especially from the independent film world, and I plan to continue
being involved with these types of projects by acting in them, writing them,
producing them, or just supporting them.

What’s next for you
guys?

Georgia, Jane and I will likely produce our second feature
together next year through our production company, Blanc de Chine
Entertainment. Meanwhile, I am producing
another feature called BROKEN HEART, written by and to be directed by two other
SAG members – I love working with other multi-hyphenates! In addition, I have written a screenplay and
am working on a second, and I continue to seek out roles that interest me as an
actor (I will be working on another indie film in early 2007). I’m also a singer-songwriter, and I plan to
record an album over the next few months.

Open mic time: Is
there something you would like to say to our readers?

Go see RED DOORS in theaters! It is a film about finding and following your
passion, something to which we can all relate – it is funny, touching, and
thoroughly entertaining. You can find all of the information on our website: www.reddoorsthemovie.com

The Onion, as far as I’m concerned, the most trusted name in news, has posted its Fall Movie Preview.

Sort of.

Picked up my industry credentials for the New York Film Festival.  They didn’t have my picture and the credentials are kinda paltry looking, handwritten and badly laminated.  And they didn’t even have a lanyard for me.  Jeeze.  You’d think New York’s most prestigious festival would hook a bruthuh up.  The saddest part is it doesn’t even get me in to the parties.  But at least I got to wander around through Lincoln Center, one of the great places to be in the city.  I fell in love like fifty times with various dancers and artists and musicians passing by and sitting at the fountain.  Siiiigh.

But I did also run in to Peter Scarlet, the head programmer of Tribeca Film Fest and former Director of the Cinemateque Francaise.  He was coming out of a press conference and seemed totally out of it having been on the road seeking films for 2007 at festivals all over the world.  He says he’s been through so many airport scanners this week that he’s taken off his shoes enough times to rival Imelda Marcos in her heyday.  God speed.  Go get them films.

NYFF is showing David Lynch’s new film "Inland Empire" (I can’t WAIT!) as well as Almodovar’s "Volver" and Sofia Coppola’s "Marie Antoinette" and there’s a sidebar of films from the Janus Collection that’s releasing a huge box set of their titles from "Jules et Jim" to "The 400 Blows" to "Wild Strawberries", "La Strada", etc.  And considering there’s no way I can afford to actually purchase the box set, I’m going to attempt to see some of these gems in the festival screenings.

I didn’t watch Studio 60 last night, as my DVR committed suicide. If anyone has an extra TV to support me in my time of grieving, please send it post-haste. Adelphia Time-Warner cable operates under the "How can we possibly annoy you today?" method of customer service, and will only fix my TV during the totally convenient hours of 9-5, which means that I actually don’t know when I will get it fixed. I know you’ll all be missing my commentary, so direct your angry phone calls and letters there.

Gah!

There’s an interesting article in the New York Times called Surivival Tips for the Aging Independent Filmmaker (free registration required).

It paints a pretty bleak picture of the ability of filmmakers to make a living making movies, with big names in the indie world supplementing their incomes with "day jobs."

According to many of the people interviewed, they blame Hollywood Stars (Why I never!), the industry’s definition of a hit, disappearing audiences, and aesthetic conformity:

As Finn Taylor (The Darwin Awards) said “I feel like the indie genre has developed the same predictable subgroups that the studios have,” he said. “Screenwriters play it structurally safe: interconnectivity of stories, time shifts, following quirky characters.”

These are all interesting points, and confirm my belief that, despite the fact that they call it "show business," anyone who goes into the entertainment industry (or any of the arts) to make money… hell… to even make a living, is doing it for the wrong reasons.

Make a movie,  perform, paint a picture, write a poem, tell a story because you must. Do it because of passion. Do it because you have something you have to say. Do it because you love it. Do it because you can’t see do anything else. Just do it.

And give me a large order of fries with that.

I know this has nothing to do with film, but it’s far more entertaining than mindless drivel currently camping out at the box office. The whole scandal with Mark Foley is getting yuckier (and somehow, much funnier), and no one is covering it with better quote-worthy punchlines than the newest targets of my overzealous e-stalking, those kids over at wonkette.com.

Keep up with the ever increasing ick factor!

(Everyone likes guys who really, really, really like kids, but no one likes a child molester…there’s a fine line.)

*Michael Tully calls David Lynch’s Inland Empire "an extremely gifted artist fucking around in his backyard". Is anyone surprised by this? Yeah, I thought I liked David Lynch in high school, when I was attracted to complete lunatics and the best way to bait them was to talk about how much you loved his work while listening to Bauhaus.

*Yet another disappointed blogger talks about Sofia C’s Marie Antoinette. Despite the negative reviews from virtually 100% of the audiences at each screening, I think I’m still going to see it. Why? Definitely not because I actually like anything she’s done before, because I don’t. I do, however, like New Order. A lot.

*This weekend’s box office was led by two films 1% more stimulating than the lowest common denominator.

*From now on, when people approach me to ask if "anyone has ever told you that you look like…", I can respond with "Esquire Magazine’s Sexiest Woman Alive 2006? Yeah."