Dear Readers, Fans, & Fellow artists:

Yes, it’s been some time since the last update but so much has went on. I’ve learned so much from myself in the past few months. I realize that NO ONE can ever determine my path or faith but me.

I spoke briefly about my project in the last article but so much has changed since then. I can’t say too much about the project before we’re ready to release the details. But I will tell you this. It’s far from the original sizzle reel that I wanted to shoot. The concept, cast, crew has grown and has included some of Hollywood’s top filmmakers and International respect and admiration for this project. Details about the Director, Director of Photography, Producers, the crew and the wonderful cast to come very, very soon. So be on the look out for that.

Besides producing my film, I have been connecting with a lot of Nollywood’s elite in New York City.  Nollywood, for those who may not be familiar with, is known as Nigeria’s Hollywood. Nigerian films are on the rise, extremely popular in Africa and has spilled over onto U.S. soil. I attended the Nigerian Entertainment Awards a few weeks ago, courtesy of the lovely Chi Chi Anyanwu. I must admit, it was not what I expected but I was definitely entertained and had a great time.  I also attended the 1^st Generation Nigerian Play Project in September.  Although it was a workshop, they really nailed it. The entire cast and production worked so hard to produce an insightful, empowering and very funny piece. There are so many stigmas about Africans, as a whole, from the world but hopefully ignorance will slowly dissipate when it comes to the perception of other cultures.

Another event I had the pleasure of going to was ‘Taste of Africa’ which was held at the Taj Lounge. Yvonne Orji, another talented actress and an extremely funny comedian, performed. Of course, she brought the house to tears of laughter with her comedy. Please check you local cable listings for Yvonne’s one hour comedy special on the Africa Channel.

Most of the network of black actors within New York City know of, heard of, or at least facebook friends with the talented Chi Chi Anyanwu. Chi Chi is one of the producers of the 1^st Generation Nigerian Play Project but she is also a casting director as well.  “Say Grace Before Drowning”, a film Chi Chi casted, was selected and premiered at the Urbanworld Film Festival in September. I am so proud of Chi Chi for all her hard work, endless effort she puts in to a given  project and helping actors that come her way find opportunities to flex their craft.

I have been chosen to be one of the models for a well-known and popular  contemporary artist, Mickalene Thomas. She currently has her artwork displayed at the MoMa and at the Brooklyn Museum. Myself and Esosa Edosomwan, will be display in the form of a portrait, at a well known gallery in Manhattan starting in November. As soon as I get the date of the gallery opening and reception, I will update everyone. Mickalene’s art featuring myself and Esosa will be on display till the early 2011.

          There is so much more to update you with but I’ll save that for the next issue. I finally figured out how to operate twitter (lol). It can be addicting but I try not to abuse it by updating ridiculous things like “I’m eating now” or “I’m walking” or “I’m in the bathroom”. You’ll be surprised how many people update with statements like that. 

          Every day and night, I thank GOD for giving me the opportunity to follow my dreams. I am also thankful for the people He has placed in my life and especially thankful for those, with negative energy, He has removed from my life.  There are no excuses anymore, because I have the tools I need to get to where I will eventually be. It’s a matter knowing when to use the right tools at the right time. I’m learning from my talented peers and those who paved the way for us. Learning is eternal for me. School is always in session!

I am a woman on a mission…Mine!

As always, I thank you so much for supporting myself and NeoBlack Cinema Magazine. Sit back, buckle up and enjoy this ride with me. Stay tuned!!!!

-Nigerian Queen

Stay Blessed Everyone!

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By Robert Notar

Lighting has come a long way since the early days of cinema. When film first started in the early 1900s, films were shot only during the day and the studio was just a room with a glass roof to let in natural sunlight, very much like a greenhouse. As time progressed, film lighting was achieved with coiled filament gas-filled lamps, then carbon arc lamps, and finally high incandescent lamps for wide range studio distances. The incandescent lamps are still being used today. There are many different systems being used today, but I will discuss the two systems that I think are best for making independent films.

Lowel is first. I love this lighting system. The Lowel DP with barn doors is a very easy and efficient lighting system. Lowel has a kit available called the 4 DP light kit.

It contains four 1000 watt lamps that combined will produce a highly incandescent light for large spaces; four barn doors to open and close to adjust the amount of light being emitted; and you can attach gels and filters to the barn doors to control color temperature

for diffusion to soften the light. It also has four mounting stands, one DP Lampak case to store the lamps, and one large multi case for the stands and accessories. Scrims are not included but are just as important to purchase. Scrims are wire mesh plates used to lessen light intensity and flags to eliminate excess light. Lowell lighting is very effective and is light on the dollar for renting.

KINO-FLO light systems is second;  a bit more pricey but quite versatile. They are best known for its fluorescent tube-based systems that are optimized for color temperatures of film and modern-dat video. KINO-FLO tubes produce less heat and fit into smaller spaces, which makes it a very popular feature for the cinematographer.

KINO-FLO was created in 1987 during the filming of the movie “Barfly.” The Director of Photography, Robby Mueller, was filming in a cramped space and couldn’t fit the traditional lights in the location. So to fix the problem, the films gaffer, Fieder Hochheim, and best boy,

Gary Swink, designed a high-output fluorescent light unit small enough to be taped to the wall. The two men created the company KINO-FLO Inc. and the new compact lights were embraced by filmmakers everywhere.

KINO-FLO has expanded their tube line for optimized effects for blue screen and green screen spectra, along with other color shades. This lighting system is great because you can replace and adjust the tubes for both day and night shooting. A flozier – a white cloth that fits over the KINO-FLO – is also important for diffusion and softening the light. A typical KINO-FLO offering is the 401 Fixture. It has 4-lamp/2-lamps switching; built- in barn doors; center mount; reflectors to bounce light; and dimmer for light intensity adjustment.

The Lowel and the KINO-FLO are both great lighting systems that are easy and very effective for high quality images. Give them a try. You can rent them at most film lighting stores. And if you’re looking to learn from the best, study the films of Val Lewton. He made very good, low-budget films in the 1940s that are famous for their artistic and highly atmospheric quality. “The Curse of the Cat People,” and “I Walked with a Zombie,” are especially good.

Good luck and Shine on…………………..

Robert Notar was born and raised in Jamaica, NY.  He was in a horrible accident as a teen, when he stuck his head out of a moving train and was struck by a pole in a tunnel. He was pronounced dead after his head was shattered, but miraculously recovered. Due to Notar’s accident he lost vision in his right eye, but that didn’t prevent him from seeing through the filmmakers eye. He took on as many visual projects as possible, studied professional photography, and acquired a love for painting, sculpture, music and cinema.  As a self taught filmmaker, Notar studies film books and puts them to the test every day on the job. He is an expert on all the technicalities on set and is currently gearing up to test his skills in screenwriting and composing. Notar’s motto: “Cinema is my life and my life is cinema- and I wouldn’t want it any other way.”

By George Kevin Jordan

I hate statistics. They are the numerical equivalent to a drive by shooting – frightening, hard to take, and even harder to survive.

If you are a woman, a minority, gay, or even poor, chances are you have felt the merciless slash of a statistic in your life. If you are an artist, or God-forbid, a film producer trying to raise capital for your work, there is no doubt you have had to stare down a few statistics in your life.

You just want to make your documentary about roller skating gorillas in South America, and suddenly some angel investor is throwing stats at you, like some financial ninja.

“It will never work,” he or she says to you at your investor’s meeting. “According to ‘blah, blah, blah’ only 20 gorilla films have ever been successful in movie theaters.”

Your question is how do you even have that tidbit of information in the upper part of your cranium. Your second thought is that all the effort it took to find a good business suit for under $100 at H&M are wasted, as your dreams go spiraling down the conceptual drain.

I spent 11 months of graduate school, inserting statistical information in my business plan and papers. I have spent about 15 years injecting statistics in articles and essays.

Just today, I have come to the conclusion that it’s all bullshit. Don’t get me wrong. I have use for statistics to develop a case for something. But just as I can use information to build something up, some a-hole can use a different statistic (sometimes from the same source) to diffuse your theory.

When put in the context of movies and finances, there is often one bit of information that is valuable, but yet there is no statistical data to prove it. When seeking money – most people are investing in you not the product.

Yeah, yeah they may pull out the latest box office figures from a movie in your genre. But truth be told; it’s about you! This information should be very liberating in your quest to get money.  For one, you are not dragged down into the muck and mire of the mass of failed projects behind you. Also, thankfully you don’t have to be compared to James Cameron either. People want to like you. And if they like you they are willing to fund your project.

To prove my point, let’s take a rather depressing statistic and see how it fits into your plans as a producer.

According Indiwwire.com, only one specialty film  (Crazy Heart from Fox Searchlight) made over $10 million in the first quarter.  And only six specialty films made more than $5 million.

Imagine being in a meeting trying to sell your indie film, and some executive throws this out – fear not. Having recently been hired to find funding for a production company, and having given more presentations than my little Mac can store (remind me to discuss external drives and rehashing old ideas someday), I can give you a primer into what most investors are thinking.

1. Will this guy/girl take my hard earned millions and squander it? How do you squash this thought? Be professional. Come on time. Have proper documents and materials ready – i.e. Business plan, proposal, or a clip of your work.

2. What’s in it for me? The film business is a risk, and I hate to contradict myself but statistically speaking most people will never get their money back. Fine then why do it? It’s up to you to find the investor’s buy in. If it’s fame, it doesn’t cost much to make a person feel like a celebrity. Do they want to be in the business? You need to negotiate a way for this person to feel apart of the process without hindering you from making the film you want to make.

3. Finally and most importantly – do I like this person? People have gotten jobs for less. When you want to put money on the line for someone you want to feel a rapport with that person. You don’t have to be friends but you better be friendly enough. If that means going out for drinks, impressing the hubby or wife, or showing up to dinner parties – do it. Whatever it takes.

A few years ago, I met some investors for a media project. Before our meeting, myself, and every other department head in the company were grilled about our jobs and the overall organization. When we met in person a month later, it was way more casual, and all about how we interacted together. I was convinced those investors wanted to know deep down if they liked us. Not like BFF friends, but business friends. Does this person have integrity, can they be trusted, and can I work with them? Some investors just give money, but many will be involved throughout the process, and it’s that relationship you have to nurture. It is that relationship that will determine whether you receive a check, or get unanswered emails.

Now, I didn’t just spend fourty-five grand on an MBA education, just to refute everything I was taught. In some instance statistics can serve you. But in the end, selling yourself is a much easier and more successful way to get money. If you don’t believe me just hold on, I am sure someone will create a statistic using this very article.