It's the 15th anniversary re-release of GEORGE LUCAS IN LOVE - an interview with director Joe Nussbaum!

This year marks the 15th Anniversary of a short film we've discussed a few times on the blog here: GEORGE LUCAS IN LOVE. The film is a hilarious mash-up of Shakespeare In Love and Star Wars, as it purports to reveal the origins behind George Lucas's script that launched one of the most enduring franchises and mythologies in popular culture.

To celebrate that occasion, the film will be available for download on iTunes for the first time ever. It's on sale today, so check it out here. (And unlike certain other filmmakers, this re-release is exactly how you remember it - no new musical numbers to be found.)

GEORGE LUCAS IN LOVE is one of my favorite short films ever, if not my absolute favorite. Written by Joe Nussbaum, Timothy Dowling & Daniel Shere, and directed by Nussbaum, it is everything a short film should aspire to. It's got a brilliant premise, it moves fast, it's funny and the acting is solid.  It feels like a lot of young filmmakers today try to catch attention with fan films of some sort, but I have seen few as purely savvy and creative as Joe Nussbaum's GEORGE LUCAS IN LOVE.

So when the opportunity arose to actually get an interview with Nussbaum, I couldn't say "yes" fast enough. In the intervening years, Nussbaum has directed the feature films Sleepover, American Pie presents The Naked Mile, Sydney White, and Prom, and has also worked in TV on a number of shows including Awkward, Zach Stone is Gonna Be Famous and Surviving Jack.  But it all began fifteen years ago with a memorable short film...

Joe, first, congrats on the 15th anniversary of GEORGE LUCAS IN LOVE! I think some of my younger readers have grown up with YouTube and an era of short films being easily accessible on the web. Can you take us back to 1999 and talk a little about what it was like to make a short film - and specifically a STAR WARS fanfilm - around then?

Joe Nussbaum: In the pre-YouTube era, it was all about VHS tapes. I worked as an assistant in film development, and my boss and her colleagues would get these short films on tape from agents trying to promote new directors. I would look at the stack of tapes and think, “I want a tape in that pile”. So I got together with some friends from film school and set out to make a short film that would get me noticed as a director.

The hybrid short already existed before us (what would today be called a ‘mash-up’) and we knew these were more likely to be watched. Shorts like Troops, Swing Blade, Eating Las Vegas, and Saving Ryan’s Privates were more likely to be put in the VCR than say, ‘Dancing to Oblivion’ or something like that. So being the calculating mofos we were, we dreamed up a hybrid of Star Wars and Shakespeare in Love and hoped it would work. Lucky for us, it did.

As for being a Star Wars ‘fanfilm’, I had not only never heard that word, I didn’t even know such a thing existed. I never thought I was making this movie as a fan (though I was a fan) I was always making this movie as a sample of what I could do.

 STAR WARS is pretty ubiquitous these days as a source for fan films. Was that the case in 1999? I definitely have strong memories of TROOPS becoming an internet hit around the time of the Special Editions, and going back further there is, of course, HARDWARE WARS. Did you have any reason to think that GLIL could become popular to the degree it did?

JN: Popularity was the furthest thing from my mind. I really didn’t think anyone outside of Hollywood would see it. I just hoped that the people who could hire directors (like my boss) would see it and give me a shot.

In your mind, what are the components of a successful short film?

JN: Mostly I think what makes a successful short film is the same as what makes a successful film of any length, but beyond that, specific to a short would probably be the need to capture the audience immediately (first scene, first seconds even), move at a very brisk pace, hold some surprises, and end strong. A successful short should also have strong stylistic elements. It should have a point of view when it comes to style.

Can you give us an idea of how thoroughly you developed your strategy for using this film as a calling card? This was a time before YouTube metrics and Twitter tastemakers were able to get a lot of eyes onto something. Obviously people responded to it once they saw it, but making sure they watch the film probably was the hard part. When you sent out a DVD or VHS of the film, how did you make sure it didn't end up in the "unsolicited submissions" pile?

JN: I was fortunate that the people involved in making the movie were all already working in the Hollywood machine. I was an assistant at a production company, producer Joseph Levy had been an assistant at a big agency and was working with a manager, and Gary Bryman, one of our executive producers, was floating around in legit development circles too. So when we finished the movie we had a network of ‘underlings’ in Hollywood who, if they liked it, could move it up the chain to their bosses.

Gary quickly showed it to a manager and I signed with him right away. This manager then paved my way toward an agent, and all our submissions were legit.

If you were making something like GLIL today, do you think it would be as successful? Should today's young talent be trying to make their own standout fan films?

JN: I hope GLiL would be just as successful today. I think when people like something they like it regardless of how much other noise is out there. I think if anything, with Facebook and Twitter and reposts, the short would have spread 100 times faster than it did back then (assuming people liked it).

As for today’s young talent, they should make whatever they would want to see. Yes, we were calculating when we decided to make GLiL, but we also loved Star Wars and loved the idea and thought it would be really funny. I’m certainly not the first person to say this, but make what you love and it will come out way better. If that’s a fan film, then do that. If it’s something original, do that. Make what you think you can make great and special. That’s the only chance that it will work.

You shot GLIL on 35mm film which is significantly more complicated and difficult than it would be to shoot and edit on digital today. Do you have any thoughts on how the short film community has been impacted by the greater availability of HD cameras and editing equipment, as well as easy distribution via YouTube and Vimeo?

JN: I’m not really tapped into the ‘short film community’ enough to know the answer to this question, but my guess is that everything’s a lot easier, and a lot cheaper, and there’s probably a lot more really unwatchable stuff because of it. Which is actually good news! Because then when you make something great, I’m sure it can still cut through.

The DVD behind-the-scenes has a great story involving Steven Spielberg. Can I ask you to recount it here?

JN: So one of my good friends, Jim Ryan, has worked at Dreamworks Animation since it opened. And when we made GLiL, we gave him a tape and he showed it to some of his co-workers there. Well, they liked it, and soon more of his co-workers wanted to see it. Apparently, word spread fast, and soon Jim was doing hourly screenings for everyone in the building. Somehow, the producers of the movie Jim was working on, Prince of Egypt, heard about the short and said they wanted to see it, so Jim gave them his tape. It turned out that they liked it so much, they gave the tape to Jeffrey Katzenberg. And apparently Katzenberg liked it enough to send it to Steven Spielberg.

Then, from what I’ve heard, Spielberg watched it, laughed very hard at it, and proceeded to call George Lucas and begin describing the short to him in detail. He then, according to the story, sent Jim Ryan’s copy of George Lucas in Love to George Lucas himself. Lucas wrote me a congratulatory letter less than a month after we finished the short, and the first line was “Steven Spielberg sent me a copy.” Definitely surreal and very very cool, and yes, the letter is framed on my wall. And yes, Jim got another copy.

You have directed 4 feature films and a lot of hours of TV in the last 15 years. I'm sure it's not as easy as "direct a good fan film, get a feature" so give us an idea of what was involved in making that leap from GEORGE LUCAS IN LOVE to directing SLEEPOVER just five years later?

JN: It’s funny that you say “just five years later” because at the time, it felt like forever. I was fortunate because GLiL proved to be such a well received directing sample that I was attached to direct my first feature within three months. That movie never got greenlit. But then there was another. But that never got greenlit either. And then there was another, and another, and another. Sleepover was, I believe, the 7th studio feature that I was attached to direct.

Getting a movie off the ground and into production is amazingly difficult. It could be casting that kills a movie, or a poorly received rewrite, or a regime change at the studio, or simply the whim of a studio head on any given day. Ultimately, there wasn’t really anything I needed to do directing-wise beyond the short in order to get a movie, I just needed the planets to align to get one into production.

It seems like - for the most part - your resume has a lot of projects aimed at the teen audience. Is that by design? Are there things about that particular genre that you really thrive on?

JN: I feel like it’s more a result of the twists and turns of fate than by design. I do tend to love teen movies though and think that high school is a fertile ground for both comedy and drama, but I’d be more than happy to ‘graduate’ as well.

When you watch GEORGE LUCAS IN LOVE today, what does that film tell you about the 26 year-old guy who made it?

JN: This is such a great question and one I’ve never thought about before. I think it tells me that guy was very passionate and had a strong enough belief in himself to risk his life savings on his own talent. I wonder if I would have the guts to do that today. I also see someone who was lucky enough to have an amazing group of friends willing to pour their hearts into a project to try and make it great. I wish I had as much chance to work with my talented friends over the years as that guy probably thought he would.

So in the last fifteen years, have you gotten the chance to meet the man himself, George Lucas?

JN: I did. It was five years after GLiL and I met George at the Telluride Film Festival where he was premiering the remastered THX 1138. I made friends with some volunteers at the festival who knew I had made the short and they helped smuggle me up to him before the screening. I quickly introduced myself and said that I made George Lucas in Love. Then the most amazing thing happened, George’s eyes lit up, he gave me a firm handshake and he said, “Thanks for making me famous.” I was speechless.

Then his kids, who were there with him, chimed in how much they loved the short. It was unbelievably cool.

And finally, as a STAR WARS fan, what are you hoping for from the new trilogy?

JN: I hope it’s great! I just want a great SW story with great characters who I can get behind and root for.   I can’t wait.
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Once again, you can find the film on iTunes here. The official website is here, and there's even an official twitter account at @GLucasInLove.

Press Release Below:

In the fall of 1998, four friends and aspiring filmmakers, JOE NUSSBAUM, JOSEPH LEVY, DAN SHERE and TIM DOWLING began discussing making a short film in order to launch their careers.  The group went on to make one of the most notable, widely seen and profitable short films in the history of the genre.

The film, which was produced in less than two months with only two days of actual filming, hit Hollywood on the morning of May 24, 1999, and within several hours, copies of the film started being passed around town.  The film gradually worked its way up from assistants to executives, eventually ending up in the VCR’s of such moguls as Mike Ovitz, Jeffrey Katzenberg and George Lucas himself, whose copy was personally sent to him by Steven Spielberg.  It wasn’t long before the press picked up on the story of the film which was trailblazing its way through Hollywood.  The film’s success was reported in such publications as DAILY VARIETY, HOLLYWOOD REPORTER, NEW YORK TIMES, LOS ANGELES TIMES, PEOPLE MAGAZINE, ENTERTAINMENT WEEKLY and USA TODAY.  The story went on to reach publications in nearly every continent of the globe.  Television news media also reported about the phenomenon on such outlets as NBC’s TODAY SHOW, CNN’s SHOWBIZ TODAY, MSNBC’s MORNING LINE, Fox News channel, CBS, CNNfn and many more.

In September, 1999, the film made its internet debut on MediaTrip.com. Within weeks, the film was reported to be the most viewed short film in internet history, eventually being watched several million times by internet audiences around the world.  GEORGE LUCAS IN LOVE is currently taking its position in a permanent exhibit on the history of film on the internet at the prestigious Museum of Television and Radio in New York and Los Angeles.

Approximately six months after its world premiere and internet debut, GEORGE LUCAS IN LOVE was made available for purchase on home video through Amazon.com.  Within its first 24 hours of sale, the nine-minute video became the top selling VHS film on Amazon, placing it ahead of “Star Wars Episode 1”.  GEORGE LUCAS IN LOVE retained its number one position for nearly three months straight, just before the film’s release on DVD and broad expansion into traditional brick & mortar retail markets such as Tower Records, Barnes & Noble and Blockbuster.  At the same time, the film was being licensed for television, airline and theatrical exhibition around the world in numerous countries and languages.

 

My review of Hughes the Force

After a week of interview clips promoting Hughes the Force, it seemed only fair that I weigh in with a proper review.

Like I said earlier this week, a good film cannot exist without a strong concept.  That holds true of both short and feature-length films.  Fortunately Hughes the Force has a rather novel concept that should appeal to anyone who grew up with the films of the 80s. Two high school geeks, Henry (Justin Okin) and Simon (Nathaniel Weiss) are determined to go to the big end-of-the-year party.  Simon in particular has a major crush on Jennifer, but in order to get into the party, they need a hot girl.  To that end, the guys decide to make their own hot girl, Weird Science-style and bring a Slave Leia action figure to life (Taylor Treadwell).

The idea of a John Hughes/George Lucas mash-up is so clever, I'm rather surprised it hasn't been done before.  As a geek for the works of both filmmakers, I found it to be an irresistible hook.  Naturally, that's what director J.C. Reifenberg and his team are banking on.

But the filmmakers are just riding on a strong premise - they bring some production savvy to the mix as well.  By soliciting the services of a local Star Wars costuming guild, Reifenberg and his producers populated the film with costumes and characters that couldn't have appeared more authentic if they were stolen right off of Skywalker Ranch.  So much of what you'll find on YouTube seems to be hastily-shot, cheaply-produced garbage.  From a visual standpoint, Hughes the Force can stand with the better of the fanfilms in release.

The value added elevates the film and really helps sell the magic used by the Leia genie, coming in a scene where she transforms the patrons into a Barney's Beanery into beings one might expect to find at the Mos Eisley cantina and Jabba's Palace.  Among the crowd are pool-playing stormtroopers, a Boba Fett, Darth Vader and even a mostly-naked green Twi'lek dancer. (For the layperson, that's the first character to meet her end at the hands of the Rancor in Return of the Jedi.)

Another bonus: the bar scene features cameos from a couple of Star Wars-affiliated actors.  The performer behind the Chad Vader videos lends his voice, while Star Wars: The Clone Wars actors Catherine Taber and James Arnold Taylor appear in costumes as characters they've only played in voice - Padme and Obi-Wan Kenobi.  The later straight-up steals the film, playing Obi-Wan with a relish that would make one think he'd just signed a contract for an entire trilogy of movies in that part.  Brief though his appearance is, I found myself wishing he could come along for the rest of the adventure.  Kevin Smith also makes a fun cameo that probably is even funnier if the viewer is unspoiled.  (Ooops... sorry about that.)

So did Hughes the Force reach the heights of my gold-standard, George Lucas in Love?  Not quite.  At over 30 minutes, the pacing is a bit of an issue.  Even though Reifenberg explained his rationale in our interview, I did still find myself yearning for a brisker pace at times.  I suspect it's less of an issue when watching this film with a group of like-minded Star Wars fans.  So if possible, gather your friends and watch this as a group.

I also felt that the characters showed the strains of carrying such a long short.  Had there been greater contrasts between Simon and Henry's characterizations, this could have been alleviated somewhat.  After a while, I couldn't escape the feeling that the characters were rather similar in a way that may have inhibited some comedic chemistry.

As for Leia herself, while I can't deny the logic of Reifenberg's explanation in our interview that this Leia isn't really Leia, but just "the embodiment of their perfect woman put into a plastic action figure," I would have liked to have seen Leia written with a little more of her trademark spitfire.  Treadwell plays the character with a bit of a flirtatious side, but a little more sass and spunk could have enlivened things even more.

Still, Hughes the Force is worth checking out.  It's clearly a labor of love for everyone both in front of and behind the camera.  There's little doubt that this was made by talented people passionate about what they were doing.

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From the filmmakers press release:

Hughes the Force is available for download at www.hughestheforce.com and on SiT - SModCast Internet Television.

The film will be freely available to all for download in a number of digital formats for both PC and Mac, as well as mobile versions for Android and iPhone. 

Also available are Blu-ray and DVD files complete with menus and bonus content for burning to your own discs. 

A galactic number of bonus features, including: 

· The Making of Hughes the Force featurette – behind-the-scenes footage from the set and interview clips with the Director J.C. Reifenberg, Producer Ruark Dreher and actor, James Arnold Taylor. 

· Commentary Tracks – multiple tracks featuring the lead actors and the production staff covering a range of topics including the writing, cinematography, production work, and acting. 

· Pop-Up Video Track – behind-the-scenes trivia throughout the film.

Webshow is back! Interview with "Hughes the Force" Director J.C. Reifenberg - Part 1

Yes!  After months of waiting, The Bitter Script Reader webshow is back with a new video, this one the first of a four-part interview with J.C. Reifenberg, the director of a Star Wars fan-film called Hughes the Force.

As someone who's made several short films and assisted on many others, I can attest that it's never easy.  A short filmmaker is almost always going to be struggling against not having enough time, money and resources to complete their vision.  But even before that, the filmmaker needs to have a solid concept worth producing - and sometimes it's harder thinking of a short idea than it is a feature.

Then once the film is done, the already exhausted filmmaker has to figure out some way to get his short in front of people.  With sites like YouTube, the process of distribution is simplified, but at the tradeoff of needing to stand out from the pack.

I first heard about Reifenberg's film last year around the time of San Diego Comic-Con.  It had what I considered an irresistible hook: a mash-up of Star Wars and John Hughes's Weird Science.  Better still, Reifenberg came up with some savvy ways to add production value such as costumes and some sly cameos from the Star Wars Universe.

Long time readers of this blog will recall my spotlighting other Star Wars fan films Troops and George Lucas in Love, two productions that stand as A+ examples of short films/fan films in my estimation.  Seeing the potential in Hughes the Force, I contacted the filmmakers through their publicist, and after arranging a viewing of the film, director and co-writer J.C. Reifenberg was good enough to sit down with me.

So watch the interview below to find out more about the premise, how J.C. got such great costumes and props, and why getting an actress to perform mostly naked and in green body paint was actually one of the easiest tasks the filmmaker accomplished.



Hughes the Force will be released this Friday, May 25, on both the Hughes the Force website and Kevin Smith's YouTube Channel, S.I.T. - SModCo Internet Television.


Part II - Stalking Kevin Smith: Getting celebrities to make a cameo appearance in your short film
Part III - How long should a short film be?
Part IV - "The best thing I could have done for my career from a networking perspective."

Using a short film to get your writing out there

Lacy & Kevin asked me this question a while back:

What's your take on making a short film as a means to getting your writing out there?
Even if it's well filmed, are you better off querying, or do you think it's a waste of time?

I think it can be useful, but you're better off if there's a clear hook to the idea.  That might mean that doing the short film version of your feature script might be problematic.  Instead, make sure you choose a premise that makes the best use of the medium.

One of the best examples of this is the short film George Lucas in Love.  Written by Joe Nussbaum, Timothy Dowling & Daniel Shere, and directed by Nussbaum, the film was produced in 1999.  This was right at the time that anticipation was building for the release of Star Wars: Episode I - The Phantom Menace, and also right around the time that Shakespeare in Love won the Oscar for Best Picture.  The creators saw an opportunity to make something timely that would get them noticed and have a built-in audience.  If you're interested in finding out more about the film, check out this interview.


The film was later released on DVD, along with a behind-the-scenes documentary.  In it, the creators talk about sending the film to all their contacts in Hollywood, only to return home one day to get a call from one of Steven Spielberg's assistants.  It seems that a copy of the film ended up being passed all around Hollywood.  It made its way to Spielberg's office and the assistant recounted how they gave it to Spielberg and heard him laughing as he watched it.  Then the assistant was tasked with putting Spielberg through to George Lucas and heard Spielberg rave about the film to Lucas.

Nussbaum went on to direct the feature films Sleepover, The Naked Mile, Sydney White, Prom and is currently attached to Brad Cutter Ruined My Life... Again.

A more recent example is Kevin Tancharoen, who directed a Mortal Kombat short as sort of a calling card for what he'd like to do with the property.  This was probably a smart move, because his lone feature credit - Fame - probably would have kept him in "Movie Jail" for a while otherwise.  Instead, it landed him a job as the director for the feature version of Mortal Kombat.

Check out an interview with Tancharoen here.

I'm sure those are far from the only examples.  I also have to assume that there are people who have gotten some notice from shorts that have placed in film festivals.  I have to admit that I don't keep much of an eye on that world.  If anyone has further examples, free free to bring them up in comments.

The internet is littered with "calling card short films."  Sometimes they go viral, sometimes they don't.  So long as you're not reaching beyond your means, I'm all for taking a shot at it.