Blog Entries – Page 21 – Fan Film Factor

At the halfway point, FARRAGUT FORWARD Indiegogo is 40% of the way to its $30K goal!

Since the announcement of the guidelines back in 2016, few Star Trek fan films have managed to crowd-fund into the five-figures. Of those, only INTERLUDE, THE ROMULAN WAR (Part 1 and Part 2 combined), and the still-not-completed TEARS OF J’KAH have managed to exceed $25K. Interlude just barely made it, although the last couple of thousand were a late add-on to replace PAUL JENKINS’ damaged green screen. The Romulan War probably shouldn’t count because it was actually TWO fan films, although they combined to reach just under $30K. And finally, Tears of J’Kah was funded to $49K, but that was from only 13 backers, most of them wealthy Hollywood connections that showrunner BENNY HALL asked for donations from.

And then there’s FARRAGUT FORWARD.

Last month when they launched their Indiegogo campaign, showrunners JOHN BROUGHTON and JOHNNY K. explained in a video interview why their goal was set at $30K. They’re planning on building screen-accurate Star Trek movie-era sets, based on those that became the U.S.S. Reliant in Star Trek II: The Wrath of Khan. Considering that Farragut Films had built most of the meticulously-crafted TOS sets that were used for STARSHIP FARRAGUT, STAR TREK CONTINUES, and now are NEUTRAL ZONE STUDIOS in Kingsland, GA, one expects the Farragut Forward sets to also look amazing.

And speaking of looking amazing, their “monster maroon” uniforms are studio quality (maybe even better!), as are their Klingon uniforms, and can cost up to one thousand dollars apiece…and the Farragut folks are planning to make about two dozen of them! And that’s how you get to $30K (not to mention make-up, props, food…and other production expenses).

Even so, $30K is a LOT of money to generate in a post-guidelines world with global inflation and rising fuel prices also becoming an issue of late. And of course, back in 2015, there was no new Star Trek on television, so fan films were all we had. Nowadays, fan films are “competing” with five different weekly TV series from CBS/Paramount. And even before the guidelines, Starship Farragut‘s last campaign back in late 2015 reached its goal $15K but didn’t get much further ($15,787). Can they really DOUBLE that in today’s crowd-funding environment?

To be certain, they started off frustratingly slowly, languishing in the low four-figure range for the first four weeks. But that all changed this past weekend. John B. and Johnny K. had a table at the long-running FARPOINT convention in Hunt Valley, MD along with a presentation of their “PROLOGUE” vignette, which is a must-see…

The above video along with the promised return of Farragut got folks at the con VERY excited, and thousands of dollars in on-site donations came in by Sunday evening. And then on Wednesday, they received their first donation at the $5K level. Other smaller donations have followed, and they are over $12K…which is 40% of the way to their goal!

John Broughton remains extremely optimistic. In a Facebook post earlier today, he said the following…

SOLE SURVIVOR is a “one-man show” Star Trek fan film! (interview with STEVE INGLIS)

I’ve said it many times: anyone can make a fan film. You don’t need elaborate sets or meticulously crafted costumes. You don’t need expensive equipment or a cast of many (or even any) actors/friends/fellow fans. Sometimes all you need is, well, you.

In today’s blog, the role of “you” is being played by Scottish Trekker STEVE INGLIS, who just released his first Star Trek fan film, SOLE SURVIVOR. He posted it to YouTube and linked to it from a comment on the Fan Film Forum Facebook group.

As I began playing the video, it looked like I was gonna have to sit through 15 minutes of a static shot of some guy talking to the computer. Oh, well…no such thing as a bad Star Trek fan film, right? But much to my very pleasant surprise, this production turned out to be much more than just that. I mean, yes, it was a static shot of one guy talking for 15 minutes, but that was just the foundation of was turned out to be a very engaging viewing experience. The main character was masterfully played by Steve himself, and the story moved along at a decent pace with an unexpectedly suspenseful ending.

Take a look for yourself…

Considering it was a first-time effort with only two people listed in the credits—Steve Inglis and writer/director TOM DUNE (plus clip music from ZAKHAR VALAHA from Pixabay)—this was a pretty impressive fan film! And to underscore the “do it yourself” nature of this project, the credits also listed the following:

Wardrobe – Ikea
Hair – Yes
Makeup – No
Lighting – Borrowed

Naturally, I wanted to learn more about these two Scottish fan filmmakers, although I could only find one of them, Steve Inglis, on Facebook. Tom Dune didn’t appear to be listed anywhere…not even as a Facebook friend of Steve’s. I would soon find out why that was when Steve agreed to do the following interview…

DISCOVERY’s “The Great Barrier” was a lot to get through… (editorial review)

THE GREAT WALL OF SPOILERS

Perhaps I should have realized it when I heard Dr. Kovich reference Gilligan’s Island in the opening scene of STAR TREK: DISCOVERY‘s tenth episode of season four, “The Great Barrier.” Realized what? Well, those castaways set out on a “three hour tour” and ended up spending a LOT more time stuck in the same place. And that’s kind of what’s been happening with Discovery this season.

While there’s nothing inherently wrong with the decision to have season-long story arcs—as Discovery has done since season two and arguably since season one)—it does present a challenge for properly pacing out the general plot line. Thirteen hours (give or take) is a massive of time to fill locked into the same overall narrative. It’s certainly not impossible to keep a storyline going for that long, but it often takes a little bit of “padding” to stretch things out a bit. And a little bit is good. It gives the creators a chance to develop the characters, something that was frustratingly absent with the manic pace of the first two seasons. So, yeah, a little bit is good. A…little…bit.

For the first half of season four, the pacing of the overall story arc was decent. The anomaly (DMA) wasn’t even introduced until the end of the first episode, and it kind of took a back seat over the course of the next few episodes, although the second episode dealt with the trying to collect data on the distortion while spotlighting Book’s emotional devastation. But then we had episodes dealing with (in this order) finding a rogue Romulan ninja nun, Tilly leading a group of Starfleet cadets (and Adira) to safety after a shuttle crash while Burnham and Saru try to talk Ni’Var into rejoining the Federation, and then freeing trapped prisoners in the path of the DMA’s destruction while an experiment on board Discovery nearly destroys the ship (and introduces Ruon Tarka).

Five episodes in, and there was a steady build-up of the DMA in importance. That led to episode six, where Discovery has to actually enter the subspace rift to collect otherwise irretrievable data on the DMA. And now the main story arc had taken center stage, exactly when it should have, building to a big clash in episode seven (just before the holiday hiatus). Michael and Book lock horns over what to do about the device generating the DMA: destroy it or try to contact Unknown Species 10-C and ask them politely to turn it off. Both arguments sounded reasonable, something which has been a part of Trek since TOS.

Perfect pacing so far. The first half of the season ended with a strong cliffhanger and the promise of even more revelations and action in the final six episodes.

And then Star Trek: Discovery kinda got stuck…

New trailer announces YORKTOWN: A TIME TO HEAL will premiere on APRIL 5th…really!

It’s been a loooooooooooong road, getting from there to (almost) here. And when I say long (with all those o’s), I mean from 1985 to 2022…THIRTTY-SEVEN YEARS! Seriously, if you think AXANAR is taking a long time to finish, that’s just peanuts compared to YORKTOWN: A TIME TO HEAL…starring GEORGE TAKEI as Lt. Commander Hikaru Sulu (yep!) and the late JAMES SHIGETA as Admiral Nogura.

Every so often, like a dad taking his kids on a long road trip, I get a fan asking me the “Are we there yet?” question: Do you know when Yorktown is supposed to be coming out? And it’s a totally reasonable question. There seem to have been countless announcements of premiere dates over the past several years that never seemed to pan out. Most recently, a trailer promised a release date of Christmas 2020, and then a slightly pushed-back release date of December was announced instead. Then early 2021. Then, well, nothing specific after that.

It’s now a year later, and we FINALLY have a hard, locked-in, carved-in-stone, cross-my-heart-and-hope-kiss-a-salt-vampire date for the anticipated debut of this fan film that saw its first raw footage shot in the Angeles National Forest just three weeks after the introduction of New Coke!

So what has taken so long to finish this fan film? For the answer explaining the first 35 years of production, I invite you read this 6-part (hey, it covers three and a half decades, people!) blog series filled with quotes from show-runners STAN WOO and JOHN AKTIN. As for the most recent year delay, that’s another story that includes, sadly, a personal tragedy.

Initially, the delay from late 2020 into 2021 came because of continuing issues with sound-mixing for the film. There were still significant challenges to overcome, and they were simply taking longer to address and correct than John Atkin had originally anticipated.

But then, on October 2, 2021, MIRANDA GERMANI, John’s wife and mother of their three-year-old son, passed away unexpectedly from complications caused by Crohn’s disease. The impact on John was devastating, and it is totally understandable that John would step back from working on Yorktown for a bit.

Miranda Germani as Dr. Amanda Cruz in the upcoming YORKTOWN: A TIME TO HEAL

After that, I stopped checking in with John to ask about progress on Yorktown and instead simply offered him the hand of friendship and support (and tossed a few dollars into the GoFundMe to pay expenses for their son’s post-secondary eduction).

But John has finally completed work on the film, and we now have a firm date for the premiere of Yorktown: A Time to Heal—APRIL 5, 2022…First Contact Day!

ST: DISCOVERY’s “Rubicon” was the perfect episode with one major flaw: PREDICTABILITY! (editorial review)

YOU JUST KNOW THERE ARE GONNA BE SPOILERS!

Oh, man! They were SO close…SO close to having a perfect episode! And considering how many times I have found at least one thing to criticize about each episode of STAR TREK: DISCOVERY, a truly flawless episode has still eluded them.

Granted, is there really such a thing as a “perfect” Star Trek episode? Fans could probably find nits to pick for some of Trek‘s greatest triumphs like “The City on the Edge of Forever,” “The Trouble with Tribbles,” “The Best of Both Worlds,” “The Inner Light,” “The Visitor,”…and I could go on. But that’s not exactly what I’m talking about. What I mean by “perfect” is an episode where even the little flaws don’t bother you (or me). And the latest episode of Discovery, “Rubicon,” COULD have been that most coveted of episodes. It was gorgeous to look at, exciting, well-acted, well-paced, dramatic, and it had some really good action sequences (especially the scenes with all the jumps). It even featured some minor bridge characters getting a chance to actually LEAVE the bridge. It could have been a “perfect” episode except for one not-so-small problem…

It was WAY too predictable.

Part of the problem is that I knew, before the episode began, the title: “Rubicon.” Now, technically, Discovery episodes don’t display their titles to viewers (unlike most of the other Trek series), so I’m not sure this is a completely valid criticism. But I’m still counting it. Titling the episode “Rubicon” would be like titling “The City on the Edge of Forever” instead “The Tragic Death of Edith Keeler.”

For anyone not familiar with the Rubicon River in Italy or the phrase “Crossing the Rubicon,” it comes from ancient Roman times. Before Julius Caesar conquered Rome, he was the governor of a neighboring province and the general of that province’s army. When his term ended, the Senate ordered him to disband his army and return to Rome. He returned to Rome, all right, but he didn’t disband his army. In fact, he took his soldiers with him, which was a HUGE no-no (like, treason and insurrection illegal), and once those soldiers crossed the Rubicon River, the die was cast. Caesar’s army had entered the Rome province, and civil war ensued.

For the past few episodes of Discovery, the decision facing the Federation (with Michael and Book on opposite sides of the issue) was whether to try to make peaceful first contact with Unknown Species 10-C or risk a war with them by striking first at their DMA generator and preemptively destroying it. With a title like “Rubicon,” I pretty much knew from the first moment that the episode would end with the action that would lead to war.

Of course, there were other “tells” in this episode (and the ones leading up to it) that also cemented that inevitability…

Fan Film DIRECTORS CHOICE Awards submission deadline is THIS TUESDAY!

Three weeks ago, I announced that submissions were now open for the first annual Fan Film DIRECTORS CHOICE Awards, organized by GLEN WOLFE and DAN REYNOLDS of WARP 66 STUDIOS. Any fan film (not just Star Trek) released onto the Internet during calendar year 2021 is eligible for submission. Glen Wolfe reports that participation, so far, has been encouragingly strong so far.

The deadline to enter is this Tuesday, February 22, and if you want to submit your fan film, you can do so here:

CLICK HERE TO APPLY FOR THE FAN FILM DIRECTORS CHOICE AWARDS

Voting is done exclusively by the directors of the submitted films, and directors cannot vote their own films—otherwise, there would likely be massive ties with each fan film getting one vote! Ballots are due back no later than March 15, and any director who does not return their ballot by that deadline will have their fan film disqualified from winning anything.

When entering, the submitter can choose up to five categories for which that fan film can be considered for an award:

Best Actor
Best Actress
Best Director
Best Original Costuming
Best Make-up/Hairstyling
Best Cinematography
Best Original Music
Best F/X Make-up
Best Audio Mixing
Best Lighting
Best CGI FX
Best Green Screen
Best Screenplay
Best Parody
Best Foreign Fan Film
Best Animated Fan Film
Best Editing
Most Canon Award
Best Ensemble
Most Valuable Crew Member

After all of the ballots have been tabulated, a “Best In Fest” winner will be determined as the fan film that receives the most votes overall in all of the categories combined (so it’s advantageous to submit your film for the maximum of five categories).

Winners will be announced on April 5, and each winner will be e-mailed an award certificate. If you’ve entered or are planning to (before the end of Tuesday!), I wish you the best of luck!

STARSHIP WEBSTER production crew discusses their latest “OPPORTUNITY”… (interview with a bunch of folks)

And then there were six…six fan films from the STARSHIP WEBSTER Creative Group that’s a part of POTEMKIN PICTURES, that is. And considering that this relatively new production team only launched 16 months ago, that’s going at a pretty decent clip…especially when one considers there was a pandemic lockdown for a decent potion of that time.

Webster got its start when show-runner RANDY LANDERS and his wife moved from Pelham, Alabama two states north to Lexington, Kentucky and reached out to local Trekkers and fans in the area to be a part of what turned into Potemkin‘s NINTH creative group (you can access all of the fans films from the various teams here). While other states in the vicinity like Tennessee, Ohio, Virginia, Georgia, Alabama, and Arkansas have supported fan films and series for many years, as far as I’ve been able to research, Webster was the first ongoing Star Trek fan production to be based in the state of Kentucky.

And the group has done some impressive work so far. Most recently, their latest release, “OPPORTUNITY,” has a run-time of 19 minutes and a cast of 18 actors with scenes on multiple homemade sets (in addition to a couple of composited green screen backgrounds). There are more than a dozen VFX shots.

While some fans criticized the “unpolished” nature of many of the Potemkin Pictures releases over the years, if you’re watching these fan films solely to be dazzled by top-tier production quality rivaling the major Hollywood studios, then you may have gotten off at the wrong exit. But if you go into viewing these productions with a mind open to seeing what fans with little money but lots of heart can manage to do, then you’re sure to come away satisfied.

And if you know what to look for, a fan film like “Opportunity” accomplishes quite a lot. Take a look…

This time out, I decided to have a free-form chat with four of the folks behind this film:

BILLY SWANSON – a producer and actor who portrays Commander Robert “Hawk” Hawkins, Executive Officer and Security Chief of the U.S.S. Webster.

LAURA JOHNSON – one of the three writers of “Opportunity,” also a producer and actress who portrays Lieutenant Commander T’Varik, the Vulcan Science Officer of the U.S.S. Webster.

ROSS TROWBRIDGE – visual FX producer and artist.

And of course, it’s not a proper Potemkin Pictures interview without show-runner and executive producer Randy Landers, who also directed this film.

Let’s dive in…

STAR TREK: DISCOVERY meets OCEAN’S ELEVEN…but does it work? (editorial review)

I’LL SEE YOUR BET AND RAISE YOU SPOILERS!

“All In” won’t go down as the best STAR TREK: DISCOVERY ever made, but it succeeded on a number of levels. It also failed on a number of levels. Let’s take a look at both sides now, win and lose, and still, somehow…

In many ways, “All In” was the “A Fistful of Datas“/”Badda-Bing, Badda-Bang“/”Bride of Chaotica” episode of Discovery. What each of these stories has in common is a sense of “fun and games” where the cast and production crew can just kinda let themselves go in an episode that’s lighthearted and funny, has a little pizzazz, and isn’t simply filled with melodrama, angst , tension, and gravitas. The first three of those episodes took place mainly on the holodeck/holosuite in settings far removed from the path that Star Trek usually treads. “All In” does essentially the same thing…just without the holoemitters.

For me, despite other obvious weaknesses of the episode, the humor and lightheartedness were the most welcome and refreshing aspect this time around. Admittedly, there’s still some serious shat going down in the galaxy, as billions, if not trillions, of lives are at risk. And worse than that, Michael and Book aren’t seeing eye-to-eye. But maybe that’s why we need a little vacation on a floating barge hidden behind a holographic sea serpent (hey, maybe this episode DOES have holoemitters!) to do some relaxing gambling and mixed martial arts ring-fighting.

But seriously, folks, let’s start with what, I believe, was the inherent strength of the episode…

FARRAGUT FORWARD finally funding ferociously formidable fan film! (video interview with JOHN BROUGHTON and JOHNNY K.)

Back in 2016, after a decade of producing an impressive parade of both live-action and animated Star Trek fan films, the team at STARSHIP FARRAGUT began production on the series finale “Homecoming.” But the bittersweet ending to this celebrated fan series was much more sweet than bitter because, at the same time, they announced plans to begin production on a new project that would take the crew forward into the Star Trek movie era…complete with monster maroon uniforms and brand new sets! (You can read the full history of Starship Farragut starting here.)

Farragut Films had already distinguished itself as capable of building jaw-dropping TOS set recreations, having constructed most of the Constitution-class heavy cruiser sets that are currently housed in Kingsland, GA, sets that have also been used for the fan series STAR TREK CONTINUES, DREADNOUGHT DOMINION, AVALON UNIVERSE, TALES FROM THE NEUTRAL ZONE, CONSTAR CHRONICLES, and many others. Imagine what these guys could do with movie-era sets!

But then, shortly after the announcement of the fan film guidelines in June of 2016, Farragut showrunner and lead actor JOHN BROUGHTON all but disappeared from the fan film community, and the series finale remained uncompleted and unreleased. As for Farragut Forward, an announcement was made that the planned series was being tabled.

Then everything changed on a dime. In the span of just two months last year, an announcement came in August that Farragut Forward was now officially in pre-production, and in October “Homecoming” was finally released! Fans were really excited at both developments but especially that the new movie-era fan film would be produced…and not just by any ol’ director. John Broughton had teamed with KAOTICA STUDIOS in the Washington, DC area, and specifically with director JOHNNY K. (he likes to use just his last initial professionally), whose camera and lighting skills are truly impressive. In fact, his debut independent film, The Killer of Grassy Ridge, has since earned a dozen different awards in film festivals around the world.

Johnny K. has brought that same finesse to the new Farragut Forward project, and John B. has brought along props, a couple of new Klingon bird-of-prey sets, and the spiffiest monster maroon uniform you will ever see in a fan film (and probably even in studio-produced Star Trek!). Don’t believe me? Well, you can see for yourself, as they have already released the opening three minutes of the project in a vignette titled PROLOGUE…

Of course, there’s a LOT more sets to build and costumes to craft (by hand!)—plus all of the other costs of production like equipment, studio space, food, make-up supplies, etc. And all that stuff doesn’t exactly come free. So Farragut Forward has launched a brand new, 60-day Indiegogo campaign trying to reach an ambitious goal of $30K!

Is STAR TREK: DISCOVERY really “WOKE”? What does “WOKE” even mean??? (editorial, part 2)

Last time, we began by taking a brief look at the history of the word “woke.” (You can read the full history here.) Although “woke” began as a positive word connoting being aware of racial injustice, in the last half-decade, “woke” has been co-opted into a toxic, negative insult, implying (from conservatives) an overly liberal and progressive view of race relations and inequality and (from liberals) an overcompensation to try to mitigate implied social injustice.

Whatever the meaning, some detractors of STAR TREK: DISCOVERY have begun to deploy the word “woke” in criticizing the show. But what exactly are they talking about? Is it the diversity of characters of different races, ethnicities, sexual orientations, and gender identities? Or is there something about the plots or the storytelling that is supposedly “woke”?

In order to get a better understanding of what the critics mean when they call Discovery “woke,” I reached out to fans on four different large-size Star Trek Facebook groups(this group, this group, this group, and this group) and asked for examples of what they consider “woke” beyond just the characters themselves.

Unfortunately, almost no one offered specific examples—only broad brush strokes which didn’t help define (for me, at least) what it was about Discovery (beyond the characters) that was “woke.” Indeed, the only specific complaints I received were a bit absurd: one person who thought there was way too much kissing and another who assumed, from watching the third season Discovery episode “People of Earth,” that “Africans took over Earth and do not welcome non-Africans home.” And among his proof was that Earth ships resembled elephants. (Seriously, I screen capped the comment!)

*Yeah, they do kinda look like elephants…*

Anyway, with nothing else that I could take seriously as an example of what made Discovery “woke,” I could only assume it was indeed some combination of the races/ethnicities of the actors and/or the sexual orientations/gender identities of the characters.

So I took a closer look at the actors themselves. There is a general perception out there among certain fans that Discovery portrays an overly diverse cast in terms of race and ethnicity. The bridge crew is certainly “colorful,” and the current main cast features two Blacks, one Hispanic, and one half-Asian. Of course, it also features four white actors (I still consider Tilly part of the main cast). That’s 50% white.

But I took it a step further and looked at the casting of ALL actors who’ve appeared with significant speaking roles in at least two episodes dating back to the start of the series. The results were staggeringly skewed toward white actors and actresses (35 total) versus Black actors (8 total) and those of Latino, Asian and other/unknown ethnicities (also 8 total).

So with 2/3 of the total actors on the show being white, why it is that so many viewers mistakenly believe that the Discovery cast is so much more diverse than it actually is…?