After I was divorced in the early 1990s, I ended up living in a small apartment in Hollywood, near La Brea and Franklin, three blocks from the Chinese Theater. I scrambled to make a living, to be creative, to make movies.Continue reading
Since Middle School, I have been a writer, and was the editor of my school paper in Ninth Grade.
I began in television in high school and became producer and writer for the New Year’s Eve variety program “CELEBRATION” which aired on network affiliate TV stations in Minneapolis for several years. I then helped build and put on the air a new broadcast TV station, Channel 29, and became its Operations Manager as well as Writer, Producer, and Director for in-house programs and clients’ productions. I went on to work for several production companies, including TV production trucks, and went out on my own as an independent Writer, Producer, and Director. My productions included live and taped talk shows, variety programs, holiday specials, sports broadcasts, interstitial segments, concerts, conventions, commercials, and industrials. Minneapolis is a major market area, which Nielson ranks as 15th largest.
I became friends with Prince and helped open his Paisley Park Studios. I marketed PPS around the world for productions and rehearsals, and produced some of Prince’s video projects, including his “ALPHABET STREET” music video and his “BENEFIT CONCERT FOR THE HOMELESS.” I also wrote, produced, and directed my own projects, including “THE BERENGUER BOOGIE” which celebrated the Minnesota Twins’ first World Series win.
I said to myself, for quite some time now, “I gotta do SOMETHING.” Tired of projects failing, hating the junior high cliquishness of crowdfunding, realizing it’s been too many years. I sought the Holy Grail of indie filmmaking: two people, one room, one day.
How Is a Filmmaker Consumed by a Passion Project?
The following is a guest post from Michael R. Barnard, who is in the final days of an Indiegogo campaign for his film, Everybody Says Goodbye: The Story of a Father and Son.
For many years, I have been chasing a motion picture project that has completely consumed me. It’s called Everybody Says Goodbye: The Story of a Father and Son, and I first began writing the screenplay in 1998. Having come so close to making the movie a few times, I keep referring to this project as “a fish-hook in the eye” because it’s impossible for me to ignore and walk away from.
I spent a lot of time on the mean streets of Hollywood. I lived there, worked there, had friends there, I walked them a lot. My screenplay for the feature film EVERYBODY SAYS GOODBYE—The Story of a Father and Son is set there, in 1998.
The sketchy stretch of Santa Monica Boulevard between La Brea Avenue and Vine Street is a little nicer now, but not by much. There has always been a veneer of potential violence.
It’s a little different style-wise, too. Back in the 1990s, if you saw a couple walking hand-in-hand along this stretch, and that couple was of opposite genders, and if each of them were their original gender, then you knew they were scared tourists separated from their tour group.
One of the odd things about being an independent filmmaker is the battle to get into production. Those of us who don’t have well-to-do families or impressive connections to powerful people have to cultivate other ways to fund the production. This is especially true today with all the turmoil in the indie film biz and the economy in general, but it’s always been true anyway.
When looking back on many years of trying to get A FATHER AND SON into production (at one point the title was EVERYBODY SAYS GOODBYE–The Story of a Father and Son), I realize there were many experiences that I call “a fishhook in the eye.”