Making Things Happen on Nothing

Getting things done on nothing.
Making things happen on nothing.

Enjoying what has been abandoned.
Enjoying and working with what others leave behind.

You don't need money to make things happen.
You don't need money to get things done.

Sing your song.
Make things happen.

Underground Films to Screen In Austin at RXSM

FOR IMMEDIATE RELEASE

MOTHER/SON UNDERGROUND FILM TEAM TO SCREEN IN TEXAS

Award-Winning Short Film Collection Heads South to Austin

Burbank, California – Nothing is closer than family. A boy's best friend is his Mother. What happens when a 25 year film and stage veteran teams with his 60-something creative writing Mother who was a burlesque dancer for over 20 years?

They make an award-winning hit cult collection of films that explode and screen around the world.

6 SHORT FILMS BY JACK TRUMAN AND OPAL DOCKERY, a collection of award-winning short films, is heading to Austin for it's Texas premiere at the RXSM Film Festival.

A collection of shocking, experimental, alternative underground independent films, short films from this collection have screened at over 300 film festivals around the world, winning rave reviews, and earning top awards honors at film festivals globally. Ranging from comedy, mockumentary and documentaries, from adult humor, to global warming, reality, women's rights and much more, these 6 short films are shocking, jaw-dropping and eye-opening. Over a 6 year period, Truman and Dockery filmed many short films that have had a huge following on the film festival circuit. This screening is a collection of their most successful films over the years.

“You have to make films that are important to you”, Truman stated in press materials. “My Mother is my best friend. When I went back home to Missouri years ago to shoot my first film as a filmmaker, she gave me a short film script she had written to read. Once reading it, I knew I had to make that movie. That first film exploded, and here we are years later, a successful filmmaking team, with a following around the world. It doesn't get much better than that”.

Dockery was a burlesque dancer for over 20 years in the 1970's and 1980's. Author of many books, she has a Bachelor's degree in Psychology and a Master's degree in Criminal Justice. Truman is a 25 year veteran of stage and film. An award-winning actor, writer and director, he is also a former college professor at Texas A&M University. Truman has a Master's degree in Communications and a Bachelor's degree in business.

Truman states, “You just have to make your movie. Don't listen to what anyone else says. There is an audience for your film. Everyone has a story to tell. If you have the courage to make your film your own way, and it's an original, creative idea that only you can tell, people will want to see your movie”.

The RXSM Film Festival is scheduled for March 8-14 in Austin, Texas.

Use Your Experience

You never can get too much experience.

You won't find me knocking education. But I will say this. It amazes me all these young educated people with their advanced degrees who think they know everything about life. But have had no experience in life.

What makes a great artist is using their experiences to tell their story.

A great actor uses his or her experiences to create a great character for performance. That's what method acting is known for. The greats like Brando, DeNiro and Pacino use method acting to bring their experiences to their character's performance to an extreme.

A writer uses his experiences to tell a story that only he can tell.

A good teacher shares his experiences in life to teach his students and have the subject relate to the times.

If you look throughout history, all of the great historical figures have used their experiences to help change the world. Ghandi. Thoreau. Aristotle. Plato. Sophocles. Abraham Lincoln. Martin Luther King. Shakespeare. Nelson Mandela. Malcolm X. The list goes on. If you search the most famous figures in history, the great ones have taken their experiences in life and used them for the better good.

Use your experiences to make your movie.

NO BUDGET FILMMAKING 

or 

How to be a Well-Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

Copyright 2013 @ Dixie Publishing

ISBN: 978 – 1 – 300 – 61518 –7 

Underground Filmmaking

Anyone can make a movie.

If you're a truly independent filmmaker, you'll find a way to shoot your film and get your movie made.

Underground filmmaking is the way to go. If you use this alternative way to make a film, you'll make your movie and share it with the world.

What's underground filmmaking? How do you do it? Where do I start? There's a world of information out there to help you with this. It's right at your fingertips.

You don't have to go to film school and spend thousands of bucks to make an independent film. Just start by going to Google. Go to Google and type the words 'underground filmmaking'. There's a world of resources and tools waiting for you on the internet. Want to know what's going on in the world with underground filmmaking? Just go to Google News and type in the words 'underground filmmaking'. Shit, I just typed a Google search with the words Underground Filmmaking and over 2 million search results came up. The first one was the encyclopedia definition for Underground Film:

http://en.wikipedia.org/wiki/Underground_film

Hell, I just went to Google News and typed in the words Underground Filmmaking, and hundreds of news stories just came up for today.

There's a world of information out there for the taking. You just have to take it, go with it, grab your balls, and jump right in.

NO BUDGET FILMMAKING 

or 

How to be a Well-Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

Copyright @ 2013 Dixie Publishing

ISBN: 978 – 1 – 300 – 61518 –7 

Using Blogs & V-Logs to Make a No Budget Film

Jack Truman & Opal Dockery

2012 Cine Vegas Film Festival

WOODY THE REDNECK

You have to get an audience for your movie.

It's easy to make a movie with no money. But it takes time and work. A lot of your moviemaking will be getting an audience for your film. As an independent filmmaker, you have to wear many hats. And you have to be create, while always thinking and finding ways to build an audience for your no budget movie that's outside of the box.

A couple of creative ways are by using blogs and video blogs for your movie.

Create a film blog for your No Budget movie. Film some short 2 to 3 minute episodes of you talking interview style to the camera discussing your film. Make about 5-8 short interviews and create a short video blog interview web series online promoting your film. There's websites like Youtube and Blip TV that are free to join and create a free web series. With each episode, you can have a link attached to the site where people can go and buy your film. You never know. Your web series could generate thousands, even millions of views. Think about all those people that you're reaching who are finding out about your film.

Make a Podcast. Along with Film V-Logs, podcasts are another great way to share your film. A podcast is like a radio audio broadcast; like a radio show. People make podcasts about all kinds of subjects. You can too. Go to the internet and create a Podcast for your film. Have one day a week that you do a radio show promoting your film. It's a free and easy way to build an audience for your project. And a lot of fun. You can get really creative with this.

These are just a couple of creative ways to help you with your filmmaking journey to build an audience for your movie. 

Make your movie.

NO BUDGET FILMMAKING or How to be a Well-Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

Copyright 2013 @ Dixie Publishing

ISBN: 978 – 1 – 300 – 61518 –7

THE ACCEPTABLE SIN

Directed by Jack Truman

A Dixie Film

 

Anyone Can Make a Movie

Filmmaker Jack Truman & Writer/Star Opal Dockery

With the Crew of THE ANDY MEYERS STORY

River's Edge Film Festival

Anyone can make a movie.

Yes, you heard that right. Anyone can make a movie.

Are you just as smart as anyone? Take the dumbest person you ever met in your life. Out of all the people you've come across in your life. Try to think of the least intelligent person you've ever come across. Are you thinking about them right now? Do you picture them in your mind?

That idiot you're thinking about can make a movie.

Take it from someone who's been in this business for over 25 years. You don't need money. You don't even need to know how this business works. If you have an idea, or a story to tell, you can make that idea or story into a movie and share it with the world.

With no money.

Title: NO BUDGET FILMMAKING or How to be a Well-Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

Copyright 2013 @ Dixie Publishing

ISBN: 978 – 1 – 300 – 61518 – 7

 

No Budget Filmmaking: Making a Movie With No Money

FOR IMMEDIATE RELEASE

HOW TO MAKE A MOVIE WITH NO MONEY

Burbank, California - Anyone can make a movie. With no money. And be a well-known filmmaker.

Moviemaking is entering a new era with digital film. With technology rapidly changing, it's getting easier than ever for aspiring filmmakers to make movies on their own.

Learn how to make a movie with No Budget and become known around the world as a successful filmmaker. Jack Truman shares valuable tips, tools, secrets and valuable information on how to get your movie made by yourself outside the Hollywood circles – from starting with an idea for a movie to selling your award-winning hit film around the world after a successful film festival run.

NO BUDGET FILMMAKING OR HOW TO BE A WELL-KNOWN FILMMAKER AND BE BROKE AT THE SAME TIME includes:

How to make your movie from concept, through production and distribution with just a camera and a computer

Ways to make your movie with no money

The best way to make your movie outside of Hollywood

How to get cameras, equipment, cast and crew at no cost

How to avoid paying entry fees at film festivals

How to create a buzz for your film when it starts playing festivals

The best ways to share your film around the world

Ways to make money with your movie

And more!

An informative, alternative, out-of-the-box reference book for the film industry, NO BUDGET FILMMAKING covers a wide range of tips and tools: from proven filmmaking techniques, valuable industry resources, and more, this book guides the aspiring filmmaker from concept to distribution on the film festival circuit, and beyond. A must-have resource for anyone who needs help with making a low budget film on their own, NO BUDGET FILMMAKING is a breakthrough book for the next generation of filmmakers.

Author Jack Truman is an award-winning filmmaker and 25 year veteran of stage and film. A former professor at Texas A&M University, Truman has also appeared in several television series and major motion pictures. His film directorial debut, the award-winning hit cult short film PHONE SEX GRANDMA premiered at the 2006 Slamdance Film Festival. Combined, Truman's films have screened at over 300 film festivals worldwide to date. Jack was on the Short Film Jury at the 2012 Slamdance Film Festival in Park City, Utah.

Title: NO BUDGET FILMMAKING or How to be a Well-Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

Copyright 2013 @ Dixie Publishing

ISBN: 978 – 1 – 300 – 61518 – 7

Website: http://nobudgetfilmmaking.webs.com/

Email Filmmaker Jack Truman at: dixiefilms@gmail.com

NO BUDGET FILMMAKING - Making a Feature Film

Jack Truman, Peter Baxter & Opal Dockery

2013 Slamdance Film Festival

By Jack Truman, Filmmaker - Dixie Films


Well, after a busy month of January, a lot's got done. Wrote my NO BUDGET FILMMAKING book. Went to Park City for Sundance and Slamdance. Promoted & launched the new No Budget Film book in Park City. Editing Opal's directorial debut this week. Lining up next month's film festival screenings of our hit short films PEANUT MAN, WOODY THE REDNECK and PHONE SEX GRANDMA coast to coast.

It's been one hell of a January. I've done more as an underground filmmaker in one month than most people do their entire life.

Being in Park City with Sundance and Slamdance this year once again got the creative juices flowing good and strong. Being there again this year really opened my eyes to some things I really need to get done this year. I've got my work cut out for me as a No Budget underground independent filmmaker. It was great and eye opening to see how easy it's going to be to get some of these things done. Maybe easy's not the right word. Realistic is more like it. I can really see how things are going to get done. Making Mother's directorial debut film and getting it out on the festival circuit, along with women's rights, feminists and gay/lesbian groups. Releasing my new No Budget Filmmaking book strong on the festival circuit, to schools, filmmakers, actors and anyone who wants to make a movie. And shooting my first narrative feature film.

The feature film version of PHONE SEX GRANDMA will get shot this year.

I think it took returning to Park City with Opal to make me realize how we can really get this feature film made. Seven years after the hit short film version of PHONE SEX GRANDMA premiered in Park City at Slamdance, the buzz still rocks in that town, and at that festival. Everyone recognizes Opal. PSG still plays the festival circuit. People still talk about it all these years later in Park City. The buzz that happened in town during Sundance and Slamdance this year, the things I learned from the feature films that were at Slamdance and Sundance this year....made me realize. It's not going to be that difficult to make this feature film this year. It'll take a little time and work. But I'll be able to make it. And with little to no money.

One thing I learned from the films I saw in Park City this year was that I need to take my most successful short film from over the years and make it into a feature film. Out of all the shorts I've made that's been playing around the world on the film festival circuit, one film stands out alone from the pack. The short film PHONE SEX GRANDMA. That little 9 minute film still plays. Since it premiered at Slamdance in 2006, it's played over 100 film festivals. In 2 weeks, it plays a festival in Phoenix. In a month, a festival in the UK. I mean, hell....this short film keeps on kickin'. The proof is in the pudding. It just won't stop. If I make the feature film, if nothing else, I already have a global audience waiting to see it.

Shopping the feature film version of PHONE SEX GRANDMA at Sundance this year generated a lot of interest and buzz. I found people interested in helping me make the feature film. Over this next month, I have to find a good handful of people I've met over the years that I really like, to work with me on this film. I think over the next 6 months, we can shoot all of the footage in California, Nevada and the Midwest. It'll be hard. But I think it can be done.

These next few weeks, I've got my work cut out for me. First things first. I've got to finish editing Opal's new film that she's directed. Then start submitting it to the film festival circuit. That little documentary film is going to explode. Then I've got a little work to do on my new No Budget Film book. After those 2 projects, it looks like I can focus hard on getting this feature film version of PHONE SEX GRANDMA shot this year.

A lot to do.

I wouldn't have it any other way.

NO BUDGET FILMMAKING or How to Be a Well-Known Filmmaker & Be Broke at the Same Time
By Jack Truman
Copyright 2013 Dixie Publishing

Sundance 2013: A Wrap Up, Summary & Overview

Jack Truman and Lynn Shelton

2013 Sundance Film Festival

Sundance 2013: A Wrap Up, Summary & Overview

By Jack Truman

Day 5 – Going Home – An Overview / Summary of Sundance / Slamdance 2013

All right. Here we go.

It's Wednesday morning. I'm back at the Vegas apartment. After 4 days of the meat and potatoes at Sundance and Slamdance 2013. What they call the Park City madness. Back to modern day civilization.

And I'll be honest. I'm glad to be back home.

I'll try to talk a little here about an overview / summary of this year's experience at Sundance 2013, how my final day went, and some final thoughts about this year's experience at Sundance and Slamdance in Park City.

I'll start with saying this. It's nothing like it used to be.

To be honest, this experience was overall, if I had to put it in one word, a real dud. That's the best way to put it. I'm glad I've experienced being there at Sundance and Slamdance previous years with a film and as a filmmaker. Or I would have thought it was always like this if it had been my first time there.

Opal and I were there for 4 days this time around: the busy meat and potatoes of the festival over the opening weekend: Friday, Saturday, Sunday and Monday. That's the heart of Sundance, Slamdance and the Main Street madness during the festival. Everything that's anything really goes on during that time before it starts winding down the last few days. So I'm glad we were there during the heart of everything. Usually, I stay for the entire festival. I'm so glad I got out and came home after the first 4 days. If the meat and potatoes of the heart of the festival experience was a dud, I can just imagine what the final days would be like with just screenings going on. Really disappointing compared to previous years.

That being said, let's get to the parties and events during Sundance and Slamdance. Overall....not very good. Overall....what parties? Now, I do have to say this. The parties that Slamdance put on at the Public House (opening night and Sunday night) were the best of the bunch. But other than that, none were good. I'll repeat that. None were good. At least the ones that I was able to get into. Many Sundance and industry parties I had been invited to and RSVP'd, they didn't even have me on the list. Really pissed me off. The ones I actually got into, overall, were no good. Some you had to pay for your drinks. What kind of a party is that? There were only 1 or 2 events that even had some kind of food. And then some events were so mobbed with lines to get in, it was over an hour wait in line just to get in to the mob of all those rats in that party. That's a good way of explaining how it felt at about 95 % of those events. You felt like a rat in a room of over rats. Nothing like it used to be. For example, my last night in Park City, after the screening of the cool Slamdance film MUSGO, I was chatting with the actresses from the film, and they were asking me if there were any parties going on that night. I felt really bad when I had to honestly say I knew of none. Hell, I remember previous years, there were parties and events day and night to choose from. It was hard choosing which to go to. You didn't have to be invited. Everyone around town, on the street, and at the screenings were telling you about events and parties to go to. And they were good ones. Plenty of food, drink, cool people, fun networking. And you know what? Even the big industry parties that were hard to get into weren't that hard to crash. It's a completely different ball game now. At least it was this year. I didn't like it. That's about all I have to say about the parties, private events and mixers.

Let's talk about the films. The ones I got to see....overall...were pretty bad. I never remember a festival year at Sundance and Slamdance where most of the films I saw were not very good or not good at all. And the ones I thought were the best of the bunch, didn't have to be that good to stand out. The films are nothing like the used to be. I would be watching these films and thinking to myself, how the hell did these films get in? How did they make the cut? You've got to be kidding me. Out of 6,000 to 9,000 films to choose from, and these were the best of the bunch? Shit. Damn. I couldn't believe it. And you talk about the Sundance films. In previous years, whereever I was at on Main Street, whether it was someplace with Sundance or Slamdance, I could always make conversation with someone to ask them what Sundance films they've seen that stood out to them, and everyone would ramble off a handful of standouts. And generally, they would be the same films everyone was talking about. This time around, no one was talking or buzzing about specific films at Sundance. And the films at Sundance? A big majority of them were studio made films. Take, for example, the Sundance film LOVELACE this week. That is not an independent film. 6 months ago, I saw an advanced test screening of the film in Burbank. Those test screenings in Los Angeles? The studios pay millions of dollars just to test the films with audiences. Those type of films...Not independent films. From what I was hearing, the films getting deals had got deals well before the festival started. And the few that were getting deals during the festival were generally the truly independent films. So that was nice to see. It used to be that when you had a film that made Park City, when my first films were there, the festival advice was to not let anyone see the film until the screening in Park City. You would get the calls from the big studios. Wanting to see your film and make a deal before the festival. But you were advised to hold off and make them see the film in Park City, let the buzz build, and the bidding wars and fights take place there. Not anymore. At least this year, you see the bulk of the deals made well before the festival started. So Hollywood. Nothing like it used to be. But overall, the films this year around....not good. A few good ones. But I'll leave it at that.

This is the first year I've gone to Sundance and Slamdance, and when I left town, haven't had a bag full of business cards from contacts I made during the festival. This time around, it wasn't the same with the networking. Didn't meet a whole lot of new people. But it was nice seeing old friends at Slamdance, and on Main Street. That made up for that.

This time, the whole Sundance / Slamdance / Park City madness / Main Street experience felt more like a short getaway; a little mini-vacation; a family reunion with old film making friends rather than the business of filmmaking and making movies through networking and working the festival. It was just a different experience this year. Not at all like previous years. Not many new contacts. Weird. Different. Even as early as last year, even though I was really seeing changes in Sundance and Slamdance becoming more commercial and Hollywood industry driven, a lot of things were the same. Not this year. This year was just really weird.

That's enough of the bad experiences, of the ones that were bad. If you want to call them bad. Not to sound negative. But I really want to let people know how the Sundance Film Festival experience really is. And how it's changed over just the last 7 years. So people have an idea of what they're getting into.

Now, let's get into the good things / best things from the festival:

I saw and connected with some people I hadn't seen in quite some time. That was great. Even people I had met last year here at Slamdance. It was great reconnecting with a lot of them.

With Opal, we were able to get some great creative ideas for our projects we're working on.

One thing that opened up my brain and reinforced the independent spirit was with Dan's film BETWEEN US. His film story reminded me that you don't have to have your film premiere in Park City. You can make a feature film, it can play other festivals on the festival circuit, and then screen at Park City. That film really reinforced me to get made the feature film version of PHONE SEX GRANDMA. And some of these films made me realize how easy it's going to be to get the feature film made.

I was able to get the buzz started on my NO BUDGET FILMMAKING book. Got fliers out to some people around town, got Dolly's Bookstore on Main interested in carrying the book, and next year, at Sundance 2014, will have a book signing for the book at Dolly's during the festival there on Main Street. It's gonna be great having the new book on the film festival circuit this year at different festivals where my films will be playing. Then bringing the book back to Park City next January.

The weather was the best yet. No snow, ice and terrible freezing weather. It was clear and sunny during the days, and then clear late at night during the drive back each night to Salt Lake City. I never remember weather being this good during the festival. That really helped.

The best thing about the festival: was the free Vegan Veggie burgers every day at the Morningstar Farms building. Opal and I really enjoyed those. We found out about them the second day we were there, and had them every day. That was a lot of fun. I really enjoyed that. That time made for really relaxing enjoyable eating time. To me, that was the most fun time at Sundance. That's pretty bad to say, when you're on Main Street during the Sundance Film Festival, and the best thing you have to say about the festival is some free sandwiches you're getting. I think that says a lot about how the festival is right there. Coming from a veteran independent filmmaker whose been here for several years with films.

I don't want to come across as a pessimist with this writing. But I want people to really know what they're getting in for if they want to make their movie and have it in Park City during Sundance. I don't look at myself as a pessimist. I look at myself as a realist. That's what I trying to write. Realism during the 2013 Sundance Film Festival.

Now, I'll wrap up with a quick overview of my final day in Utah:

Got up yesterday morning about 8:00 in the Motel 6 room in Salt Lake City. Was really tired from the last 4 days, but had to get up. Drank coffee to wake up while I wrote yesterday morning's blog. Woke up some more with a little more coffee, then packed up to head back West. Left the Motel 6 room about 11:00 heading back to Burbank.

We made really good time. Got to Las Vegas around 5:00 p.m.; only about a 6 hour drive. Stopped by the mail box to check the mail, then had to go around town to get some things done and run some errands while I had the time. We got to the Vegas apartment around 7:00 p.m.

It felt really good walking into the Vegas apartment. And being in a home environment. Very cozy and relaxing. Worked on the computer for a couple of hours, which felt refreshing. Started feeling like I was getting back to civilization. Unloaded the car. Ordered a vegan pizza. And then started fading until I conked out around 1:30 in the morning.

For me, the 2013 Sundance experience is over. Put to bed. Another chapter of my Park City experiences with Sundance and Slamdance. Every year is a little different there. I'll close with saying this: with each year at the Sundance Film Festival, there's changes going on. In my opinion, not for the better. Sundance is really drifting away from the true independent film experience. Which is really sad to see. Slamdance is trying really hard to stay to true independent filmmaking. And that I do like to see. But the overall experience from the festival on Main Street in January is rapidly changing each year. Not for the better. I will say this though. Every year, it is great to return to the Park City madness. Whether a better experience from the previous year or not. It's still the Park City madness.

And there's nothing else in the world like it.

Make Your Movie With No Money:

NO BUDGET FILMMAKING or How to be a Well-Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

Copyright 2013 @ Dixie Publishing

ISBN: 978 – 1 – 300 – 61518 –7

Sundance 2013: Day 4 in Park City

Director/Filmmaker Jack Truman with Meritxell Ortega & Mercedes Espelleta

Stars of the new film MUSGO

At the film's World Premiere, Slamdance 2013

Monday Night Blog – Park City – Sundance/Slamdance 2013

Day 4 in Park City

All right. Here we are. The fourth and my final day in Park City this time around. The last day is over for me. And I'll have to be honest. I'm glad it is.

I have to tell you something. Overall, in a nutshell, this year at Sundance was very disappointing. It was a real dud. I never remember it being this bad of an experience. And I've been coming here a lot of times over the years. Just as recent as last year, when I was on the Short Film Jury at Slamdance. The whole Sundance Park City madness experience was the same as always even as recent as last year. But not this year. I was amazed at how much of a dud it was. Bad films, bad parties, very little networking, most deals already made well ahead of time.....I'll have to tell you something. I'm glad that I've been here several times before. Because if this would have been my first time to Sundance, this dud of an experience would have made me think it was always like this.

This year, it was SO L.A.; if you're from L.A., or have ever been to L.A., you know what I mean. It wasn't independent like it's always been. This festival this time around was SO Hollywood, fake, artificial, and industry driven. Not the true independent spirit like years before. To be honest, it's sad to see.

It's nothing like it used to be.

I could go on for pages about the change and how it's not for the better. But for now, I'll just leave it at that.

Let's get on to what I did here on my final day in a nutshell:

I got up here at the Motel 6 room in Salt Lake City around 8:30 this morning. Opal called into Enterprise first thing to extend the rental car for 2 more days. Then I drank coffee while waking up, writing this morning's blog, and lining up today's Sundance/Slamdance schedule here in the motel room. We left Motel 6 around 10:30 – 11:00 this morning heading to Park City.

Once parking the car down by the Sundance Headquarters, took the free shuttle to Main Street, and walked up to the Sundance Channel headquarters for some coffee. We were in a rush, because by the time we parked the car, got to Main Street, and up to where the coffee was, it was already around 12:30; and we had a lot to do in the next 20 minutes. So we took the coffee with us, crossed the street to Slamdance at TMI, got tickets for some films later today, a few Luna health bars, and headed down Main Street to the Claim Jumper. There was a panel there at 1:00 that had 2 great friends of mine I had to see who I hadn't seen in some time: Scilla Andreen and Lynn Shelton.

Scilla's online distribution company Indieflix is the online distributor for our hit cult short film PHONE SEX GRANDMA. And I got to know Lynn when her first film I GO WAY BACK won Slamdance in 2006 when our first film PHONE SEX GRANDMA was there. So I was really looking forward to reconnecting with them. It was a great time this afternoon. The best time I had all day. Chatting with Lynn. Talking with Scilla. Seeing Opal reconnect with both of them. Lynn has a new film here at Sundance this week called TOUCHY FEELY. I am so happy for all of her success over these last few years. And she looked great, too. Really good.

After visiting with Lynn and Scilla, and going to their panel with Rick Rosenthal, we headed over to the Sundance House around 2:30 and I checked emails. Nothing important there. Then it was back up the Main Street walk towards Slamdance. But on the way, a stop at the Morningstar Farms building for those great Vegan Veggie burgers. Yummy.

After gobbling down the vegan burgers, Opal and I headed next door to TMI for Slamdance. We decided to spend most of the rest of the day around here. After all, we are Shorts Programmers for the festival this year, and need to see some more Slamdance films. When we got in the lobby, we saw a couple of Opal's new PHONE SEX GRANDMA fans, director Brian Bolster of the new Slamdance short film THE MERCANTILE, which I've been hearing great things about. We talked with Brian and his partner in the lobby for about 45 minutes. That was a fun time. Relaxing. After chatting, just for a few minutes, we walked across the street to Cisero's. I was invited to the Louisiana Film Festival party. There was a line waiting outside, but it went quick. And then the new normal happened. They didn't have me on the list. Man, I was pissed off. I'd RSVP'd over a week ago, got a confirmation email, then this afternoon, got a reminder email of my confirmation. And here they didn't have me on the fucking list. What is this shit? I was getting fed up with all of this. The guy told us to go on in. And that party was a mob of artificial Sundance Hollywood fakes. We weren't there for 5 minutes and walked out, walked back across the street to Slamdance at the Treasure Mountain Inn, and went to the Slamdance Happy Hour mixer. It felt like I was walking back in my relative's house. Networked and chatted with some people for about 30 minutes, then we headed to the Slamdance Collective screening of I WANT TO BE AN AMERICAN.

The Slamdance Collective I WANT TO BE AN AMERICAN was different. I like alternative, experimental, underground stuff. And that's what this was. 7 short films that my good friend Peter Baxter put together with a couple of other guys based on an idea. And Peter had a short in the collection called ALL ABOUT EVE that featured his daughter Eve. Damn. I could see Peter in her face. I just felt I was with family and friends. It made for a neat, cool, fun experience. I was really happy for Peter.

After the Slamdance Collective, we had a little time to kill. Several of our planned mixers and parties had petered out, with either getting emails that they were at capacity, events cancelled, or just not having time to go to them. So we missed Slava's Indiegogo mixer, the Kickstarter party, the Nintendo Lounge event, Sundance Headquarters party, and a couple other events. Either they were cancelled, too much of a mob to get in, or we just didn't have the time to go. So Opal and I walked upstairs to catch the tail end of the annual Hot Tub Summit at Slamdance. And damn. I'm glad we didn't go earlier. It was just a bunch of young people around in and out of the tub. It looked like a fucking college party. Not anything like the cool one they had last year with just a handful of people in the tub. And it was cold out there too. We headed back in the TMI area by the Slamdance office for a few minutes, got some tickets for the German mockumentary film KOHLHAAS, then walked over next door the the Morningstar Farms building for another Vegan Veggie burger dinner.

After dinner, we got in a few minutes late to KOHLHAAS. I'll tell you something. I'd been hearing great things about this film. But was really disappointed. I did not think it was a very good movie at all. The filming was done well, but boring, weird movie in my opinion. I must be in the minority, because everyone else in the room was enjoying it. The best part to me was when the final credits were running. But you know, what's my opinion? It's just one opinion. Like they say, opinions are like assholes. Everyone's got one.

After KOHLHAAS, we had about 15 minutes until a film I had heard great things about: MUSGO. I was really looking forward to seeing that film. Chatted in the hallway with a couple of the stars in the film I had made friends with a couple days ago, along with some other film friends. Then it was time for the late screening of MUSGO; our last film to see here at the festival.

MUSGO was a different film. The first 5 minutes were great. Awesome. Disturbing. I loved it. I thought, what the fuck? Wow. Where is this film going to go? I can't wait. Then, all of a sudden, it became a dud. The entire film until the last 10 minutes, in my opinion, was a dud. Not bad, but nothing to write home about. I will say this. Out of all the movies I saw here in town this week, MUSGO, in my opinion, was the best of the bunch.

After the screening, I chatted with the stars of the film. I really like those girls. They are hot. I want to work with them. If I would have stuck around, we would have got lucky and had a lot of fun together tonight. It would have made for a fun, wild night to end my final night here. But I had to get back to the room. It was already well after midnight. So I said some final goodbyes to the hot girls, some Slamdance friends, then we headed back to the car, drove back to Salt Lake City, and got back at the Motel 6 room about 1:30 in the morning. By 2:00 I was knocked out.

4 days in Park City. Sundance and Slamdance 2013. And I'll tell you what. Honestly...I'm glad my 4 days are over.

I'm looking forward to driving back today to the West Coast.

NO BUDGET FILMMAKING or How to Be a Well-Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

Copyright 2013 Dixie Publishing

Slamdance 2013: Day 2 in Park City

Jack Truman and Opal Dockery

Slamdance 2013

Day 2 in Park City

This fucking city has really changed.

If today is any indication, I don't know about this fucking city and Sundance week anymore. You talk about going Hollywood. Being the commercial, artificial LA bullshit. Today really reflected that.

I can't tell you how many things Opal and I went to today on Main Street that just crapped out. Or as I like to say, petered out. Take, for example, the coffee lounges on Main Street. There's about 7 or 8 this year that I know about (like the New York Lounge, Variety Lounge, Utah Film Hub, Sundance Channel, etc.) . Some of these places we'd go to sit and have a cup of coffee while networking, but some didn't even have coffee. Some were closed up for a special event. Some blocked me with a 'what can I do for you' snootie snoot attitude like I was a fucking nobody. Fuck this fucking shit. I never remember Park City like this. My first full day here for Sundance and Slamdance and I'm not getting into things I'm RSVP'd for, not meeting many people, not getting and giving cards.....it seems really weird this year. Not near as good. I've been here 4 times over the years at Sundance and Slamdance. Twice with hit films PHONE SEX GRANDMA and THE OUTHOUSE. Last year as a Short Film Juror for Slamdance. This year as a Programmer for Slamdance, author of a new NO BUDGET FILMMAKING book and Director for the new feature PHONE SEX GRANDMA. And I never remember it this bad. It really reflects Hollywood. It's getting worse and worse that way each year. And this one takes the cake more than ever.

Plus, the films I've seen so far are for shit. I can't believe they select the crap that's showing this year that I've seen so far.

Here's a quick breakdown of what happened my first full day here at Sundance (Day 2);

Got up around 7 a.m. At the Motel 6 in Salt Lake City. Woke up with some morning coffee in the motel room while getting ready and wrote yesterday's blog, while lining up the schedule for the day. Drove to Park City. Stopped at Staples on the way and made copies of the new flier for the NO BUDGET FILMMAKING book. Went to Sundance and got lucky with the parking. Got to park right across the street (right in front of) the Sundance Headquarters. Took the Shuttle to Main Street. That ride took over an hour. Because of the long shuttle ride, we missed the Slamdance breakfast. So while walking down Main Street to the Sundance Channel Headquarters, we got some free coffee from Acura and Bad Ass Coffee. That coffee was really good. Tried wifi there on the laptop but couldn't get access. Left and drank the coffee while walking down Main Street. Got to the Sundance Channel and tried the wifi on the laptop, but it couldn't connect. There was a line with an hour wait for a free cup of coffee, so we said screw that and walked across the street to Slamdance. Got some tickets for some Slamdance films. Then walked down to the Sky Lodge of Heber for the Creative Coalition luncheon with Bill Pullman and Joey Lauren Adams. They wouldn't let us in. Didn't have our RSVP on the list. That really pissed me off. I RSVP'd over a week ago, after being invited to the brunch. So that was a waste of time. That petered out. So we walked down to the Utah Film Hub Lounge on Main Street. That's always a good one with coffee and snacks. They didn't have anything. Nothing. Not even coffee. Just people standing around in a room. So we walked up to the HP Lounge on Heber at the Sundance House. That was pretty good. Got to use some internet and check emails, and got some nice pictures taken. After that, walked across the street for the Slamdance panel with David Pierce. He was getting things set up for a late start, so we walked down to the New York Lounge on Main Street for a quick cup of coffee. Everyone in there had a snooty snoot attitude like their shit didn't stink. Didn't used to be like that in previous years. After a quick cup of coffee, we walked down to David's Slamdance legal panel. I enjoyed hearing David and Dan's stories (my Slamdance buddy Dan Mirvish). After the panel, I went up to David for some legal advice on my upcoming feature film PHONE SEX GRANDMA and...well....I won't even go there. I'll just say he treated me for shit. One good gift I have is a talent for reading people. It's something I picked up years ago when working in property management. And it helps me to this day. It was obvious he didn't want to talk to me. He told me things that he knew I already knew. And told me he couldn't help me. So that pissed me off. But oh, well. These fucking Hollywood people. What else is new? But I do have to say I enjoyed hearing Dan and David talk. It was inspiring. So we left the Slamdance Public House after the panel and walked up Main Street to the Mc D's and Social Red Media Lounge for a cup of coffee and to network (another place I RSVP'd for every day). We weren't in there 15 seconds someone came up to us and told us we had to leave. They said if we weren't media, we had to go. They were closing up early for a big media event. So that petered out. Pissed me off again. We left and walked up to Slamdance. Got some free Red Bull, free Luna health bars, and stood around chatting with some old film friends for about an hour. That was the most fun we'd been having all day. By then, it was time for the Sundance Channel party across the street, but I was really loaded down with stuff. So I decided it would be best to return some of this stuff to the car. We took the shuttle back to the car and I dropped off bags of stuff and my laptop (which I never got to use on Main Street all day). Taking the shuttle back to Main Street took over an hour. By the time we got back to Main Street, they had closed the party early for the Sundance Channel. I had RSVP'd for that. And that petered out. Pissed me off again. So I said screw that. We walked across the street to Slamdance and went to the first Happy Hour. That was fun. Saw some old friends and met some new ones. Opal was back to her rock star self with everyone recognizing her as PHONE SEX GRANDMA. After an hour of that, we walked next door for the North Carolina film party. That petered out. There was a long line on Main Street for that. A mob. Like a crowd of rats packed together trying to mob into a place to get the cheese. That's what it looked like to me. We had RSVP'd for it 2 weeks ago. After 30 minutes, the line hadn't even moved. They were full, and you had to wait for people to leave for a body to go in. So we never got in. That pissed me off. So we walked back to Slamdance and saw the documentary feature film THE INSTITUTE. Damn. What an awful movie. Just bad. That's all I'll say about that. And the short documentary film with it THE CORNER GARDEN wasn't good either. After those films, we walked to the Morningstar Farms building for some free vegan burgers. They were great. That was the most fun I've had here yet. Then we ran over to see the premiere of the new Slamdance film THE DIRTIES with the short TURTLE. Both were okay, so so films. Better than THE INSTITUTE. In my opinion, that's not saying much. Don't mean to come across too brutal, but I'm just being hones about things. But you know what they say. Opinions are like assholes. Everyone's got one. By the time that was over, it was almost 1.a.m.; so we took the late shuttle to the car, drove back to Salt Lake City and got to the Motel 6 room around 2:15 a.m.; a lot that day, for the first full day at Sundance 2013.

Let's hope today gets better.

NO BUDGET FILMMAKING or How to Be a Well Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

From Dixie Publishing

THE OUTHOUSE

Featuring Opal Dockery

A Slamdance $99 Short Film

Opening Night at Slamdance 2013

Jack Truman with Opal Dockery

Sundance Film Festival 2013

Friday Nite Blog – Park City – Sundance/Slamdance 2013 – 1/18/2013

Opening Night at Slamdance and Sundance 2013

Well, I'm here in Park City. It's Saturday morning. Sitting here at the Sundance Channel Headquarters on Main Street across the street from Slamdance. Just got in town last night. And the routine of the madness is starting out with a bang.

Here's a quick breakdown of what happened yesterday:

Woke up at 5 am in the apartment in Vegas. Got myself woke up with strong coffee on the couch in my underwear. Washed clothes and packed. Drove from Vegas to Salt Lake City. Got our room at the Motel 6. Then drove to Park City. Spent a lot of time finding a parking space. Took the shuttle to Main Street. Walked up to Slamdance at the Treasure Mountain Inn with Opal and got our alumni / programmer passes. Saw a bunch of old film friends right off the bat. Networked for a couple hours. Got some tickets for films over the weekend. Then walked down Main Street last night to check out the scope of the land for the weekend. Hit a couple of spots like the Sundance House and the Sundance Music Cafe before walking over to the big opening night Slamdance party on Heber. Was there for a couple of hours before taking the shuttle to the car at the Snow Park Lodge, then drove back to the Motel 6 in Salt Lake City, getting to the room around 1:30 a.m.

Took it a little easy yesterday. What we did yesterday was light for us during the Park City madness.

I've got Opal with me this time around. The other half of my creative team. Writer and Star of our biggest Slamdance film PHONE SEX GRANDMA. 67 years old, and my Mother is more fired up than ever. The star of Main Street. Opal Dockery has owned this town with her films over the years. She's a little under the weather as we start things off. Need to make sure she doesn't get run down.

A lot of things lined up today during Sundance and Slamdance 2013. Look out, Park City. We're here for our first full day on Main Street.

Opening Day at Sundance 2013: Movies, Networking....and Free Stuff

Well, the Sundance Film Festival starts today.

Personally, during this traditional Park City madness, I like the Slamdance Film Festival across the street much better. It's what Sundance used to be. Plus, Slamdance is like family. They screened my first film PHONE SEX GRANDMA, and have screened several of my films over the years. So I could be partial to my film family.

That being said, today officially begins what is referred to as the Park City Madness. Starting today, for the next week, there's too much to do on Main Street during the Sundance Film Festival. Movies, networking, panels, parties.....

And not to mention all the free stuff.

It's a filmmaker's dream. You get so many free things everywhere you go that can help you with your filmmaking process.

Welcome to the Park City madness they call the Sundance Film Festival.

NO BUDGET FILMMAKING or How to Be a Well Known Filmmaker & Be Broke at the Same Time
Written by Jack Truman
Copyright 2013 Dixie Publishing

PHONE SEX GRANDMA 

The Award-Winning Hit Cult Short Film

Starring Opal Dockery

Directed by Jack Truman

Presented by Indieflix

A Dixie Film

Sundance and Independent Film: The Festival Parties

This is the week. It all starts tomorrow.

The Sundance Film Festival is the mother of independent film. And right across the street on Main Street in Park City, Utah, a little festival called Slamdance goes on at the same time. If you're on Main Street in Park City, Utah this upcoming week, you've got a world of new, fresh independent film for the new year of 2013. It all starts here starting tomorrow.

I'll be getting up there Friday. Usually, I'm up there for most of the entire 10 days. But this time around, I'll just be up there for the meat and potatoes of the festival, Friday through Monday.

If you go to the Sundance Film Festival, the big thing is networking. You meet so many people, no matter where you are. Whether you're at a film screening, a panel, seminar, party, happy hour, event, or just walking down Main Street. You see celebrities everywhere, meet and talk with filmmakers and film executives everywhere. There's nothing like it.

But one thing that stands out more than anything is the parties. And there's a ton of 'em to choose from.

I've already been invited to over 20 parties during the 4 days I'll be in Park City. And more invites are coming daily. So it looks like I'll be doing the insanity of the party hopping and networking that makes up the meat and potatoes of the Park City madness.

If you've never been to Sundance or Slamdance, or if this is your first time going, it's not hard to find the parties going on around Main Street. It's a job, and it's work lining them up. But you can find them like I do before you make the trip. If you're new to the Sundance scene, before you head up, there's some cool Facebook groups for Sundance parties. You can get your start searching there.Then go the the websites for Sundance and Slamdance. They have a lot of venues and events listed there. Those things can get you lined up right away for your indie film networking at Sundance. But you'll really start finding out about a lot more events once you arrive on Main Street. There's always something going on. And when you meet someone, chances are you'll find out about other cool parties.

It's all about networking.

NO BUDGET FILMMAKING or How to Be a Well-Known Filmmaker & Be Broke at the Same Time
Written by Jack Truman
Copyright @ 2013 Dixie Publishing

JUNK

The Hit Short Film

Directed by Jack Truman

Starring Opal Dockery

A Dixie Film

Sundance 2013: Getting Ready for the Park City Madness

Well, it's that time of year.

The 2013 Sundance Film Festival. The 2013 Slamdance Film Festival. The 7 to 9 days that make up the insanity of the annual Park City madness the third week of January. It's an annual tradition. And I won't miss it for the world.

Got a lot to do before I get up there on Friday for Opening Night. Film people to contact, lining up events, film screenings, parties, daily outlines/schedules of places to hit and network....it's a job just preparing for Park City. There's an art to mastering the Sundance/Slamdance Main Street experience. So much to do. So little time. Between the 2 festivals, about 150 films (including features and short films), multiple seminars/events down the street by the hour, parties by the hour, it never ends. I'm glad I've been there as a filmmaker with a hit film to experience. Because of that, I've mastered the process every year and can get things lined out.

The next 3 days will be super busy here in Los Angeles. Then the cool drive up there. Opening night parties on Friday. The madness over the weekend. Then calming down a little as the festival ends. There's always something to do there. You just take your pick where you want to be.

I've been to Park City 3 times: twice as a filmmaker with a hit film (PHONE SEX GRANDMA in 2006, THE OUTHOUSE in 2008) and once as a Short Film Juror (2012 Slamdance Film Festival). This time around (officially) I'll be going as a Programmer for the 2013 Slamdance Film Festival, but I'll be there to release my new NO BUDGET FILMMAKING book. It'll be nice for a change to not be there with a film, and instead, just be able to go around letting people know about the new book. The networking is the best part of the Park City madness. The festivals have changed alot over the years (for the worst), but one thing that stays the same that's great is the networking and the friendships you make that week of independent film up in the mountains through the snow. There's nothing like it.

Gotta get to work for getting ready.....

NO BUDGET FILMMAKING or How to Be a Well-Known Filmmaker & Be Broke at the Same Time

Written by Jack Truman

Copyright @2013 Dixie Publishing

THE OUTHOUSE

Directed by Jack Truman

2008 Slamdance $99 Special

A Dixie Film

NO BUDGET FILMMAKING BOOK TO RELEASE AT SUNDANCE

FOR IMMEDIATE RELEASE

NO-BUDGET FILMMAKING BOOK TO RELEASE AT SUNDANCE

Award-Winning Filmmaker to Launch New Book In Park City

Burbank, California – Anyone can make a movie. With no money. And be a well known filmmaker.

That's the premise of the new filmmaking book NO BUDGET FILMMAKING: Or How to be a Well Known Filmmaker and Be Broke at the Same Time, written by Jack Truman. Truman, an award-winning independent filmmaker, shares valuable tools, tips, and secrets of the industry trade in a book designed to help any aspiring moviemaker make their movie.

“It's not hard to make a movie. You just have to make your movie”, Truman stated in press materials. “Everyone has a story to tell. And there is an audience out there for your film. You just have to make it and get it out there. I wrote this book with the objective to help anyone make a movie with no money and become successful in the independent film world. I'm living proof it can be done. If I can do it, anyone can”.

An informative, alternative, out-of-the-box reference book for the film industry, NO BUDGET FILMMAKING covers a wide range of tips and tools: from proven filmmaking techniques, valuable industry resources, and more, this book guides the aspiring filmmaker from concept to distribution on the film festival circuit, and beyond. A must-have resource for anyone who needs help with making a low budget film on their own, NO BUDGET FILMMAKING is a breakthrough book for the next generation of filmmakers.

Author Jack Truman is an award-winning filmmaker and 25 year veteran of stage and film. A former professor at Texas A&M University, Truman has also appeared in several television series and major motion pictures. His film directorial debut, the award-winning hit cult short film PHONE SEX GRANDMA premiered at the 2006 Slamdance Film Festival. Combined, Truman's films have screened at over 300 film festivals worldwide to date. Jack was recently on the Short Film Jury at the 2012 Slamdance Film Festival in Park City, Utah.

NO BUDGET FILMMAKING will be released in January at Park City in conjunction with the 2013 Sundance Film Festival.

Contact Director Jack Truman at dixiefilms@gmail.com

A Dixie Production

How to Make a Movie With No Money

You can make a movie.

Anyone can make a movie. Everyone has a story to tell. You just have to get off your ass and make your movie.

Our films have screened at over 300 film festivals worldwide. And have a cult following. We've just made 2 more short films within the last 3 months, and they're beginning to explode on the film festival circuit. Just lanched a brand new web series on Youtube, Blip TV and Funny or Die. And now shooting a new documentary film, and lining up a new shoot for a web series in Las Vegas this fall.

And on no budget.

Be an underground filmmaker. Let your voice through film. Make movies. You can do it.

No budget filmmaking is a dream come true. Get a camera and start shooting. There is an audience for your film.

THE ACCEPTABLE SIN

Award winning documentary short film

Directed by Jack Truman

Featuring Opal Dockery

Leading By Example

They say those who can, teach. But most of the time (for example), if you go to school, those who can't, teach. 95% of the time, a teacher in a specific field is teaching because they either couldn't make it in that field, were too afraid to try, or is some kid right out of college with no life experience trying to be an expert in a field.

So, in this humble filmmaker/consultant's opinion, if you want to teach someone, do it by example.

Then here we go.

My brand new short film is getting ready to explode on the film festival circuit. It's been about a year since I made a film that got out there, so I knew it was time to make another one. And this time, in a rare twist, I'm starring in the film as well. Was an award winning stage and film actor for over 15 years before turning over to the Directing role. It's fun exercising those old acting chops after about a 10 year rest.

WOODY THE REDNECK will be having its World Premiere next month in Cape Cod at the Woods Hole Film Festival. 3 weeks later, its Southeast premiere in Birmingham at the Sidewalk Film Festival. Then 2 weeks later, its West Coast premiere in Las Vegas at the Cine Vegas Film Festival. Just finished making this little 5 minute mockumentary about 2 months ago and began sending it out to festivals around the world. My films to date have screened at over 300 film festivals worldwide. So I've already built and established a global film audience. And they wait constantly for my next film. So no more film submission fees. And complete freedom to make my own films my own way.

WOODY is going to shock the world. At least, to those who see it. And more shocking than anything, the character and film is based on actual events.

Lead by example. That's the way I look at things. This 25 year veteran film/stage artist has a lot to teach. And still a lot to create.

Forget Cannes: Smaller Film Festivals are the Way to Go

If you're a filmmaker, and you want to share your film with the world, screening at any film festival is a great thing. Sundance is great. Cannes is great. SXSW is great. You've probably heard of the biggies out there.

And they say that entering a major big film festival as a filmmaker is like the lottery: you can't screen there if you don't enter.

But I'll be honest. Some of the best film festivals out there are the smaller ones. Submit to them. And when you get accepted, do everything you can to attend. For one thing, these smaller film festivals have a great local indie film community, and it's a great place to have indie film lovers see your film as an audience where they would otherwise never get to see it. And for another thing, if you can make the festival, the place treats you like royalty. It's a rock star life. I'm not kidding.

I'm not telling you to not submit to Sundance or Cannes or the other big name film festivals out there. But the smaller film festivals, in my opinion, are the way to go.

Don't Go to Film School - Make Your Movie

Take it from someone who makes no budget films. And has had their films screen at over 300 film festivals around the world.

You don't have to go to film school to make a movie.

You don't have to go to film school to distribute and share your movie with the world.

Anyone can make a movie. With no money. And screen it around the world on movie screens.

There's a big film festival world out there. And they're hungry for new movies.

It never ceases to amaze me when I'm at a film festival with one of my films, I watch other films there, and there's an endless line of film credits. It's obvious that these filmmakers spent a lot of money, and had a nice sized budget to make their movie. But the films that are talked about the most at film festivals, and generate the most buzz, are the personal films. The films that only that person can make. The films that people are afraid to make or have no idea where to start.

It's a job. But you can make a movie and share it on the film festival circuit, with a great festival run without any or little money. I'm living proof.