Jon Landau at the Kentucky Film Lab

Questions from midwest filmmakers; answers from Hollywood

By Mary Ashley Burton

The Kentucky Film Lab (KFL), now in its seventh year, has become a reliable resource for networking, workshops and face-to-face interactions with names whose fame go far beyond the borders of Kentucky.

The KFL’s 2010 Fall Studio, held on October 2nd at the Kentucky Center for the Performing Arts, did not disappoint on any of these fronts. The main attraction at the event was the chance to meet Jon Landau, the producer of (among other films) Titanic and Avatar. Attendees had two opportunities to hear from the surprisingly accessible Landau: one in a Question and Answer session in the afternoon and another in the evening during his IdeaFestival presentation. Attendees at both events seemed to have two main interests: What Is It Like To Be You? and How Can I Make It?

What is it like to be Jon Landau? He answered that he looks at every movie as a new business. He is responsible for taking James Cameron’s broad, innovative ideas and making them happen. He takes credit for sowing seeds for ideas that Cameron later is convinced he conceived on his own, and raising questions and offering opinions that ultimately improve the film. He claims that he landed in producing because he wasn’t good in any other department and that he really is a jack-of-all-trades (master of none) working with each department to ensure that they stay happy, motivated, and productive. Ultimately, he assured the attendees that the greatest fulfillment of his job is watching the audience be entertained by his films.

How can I make it, Mr. Landau?

While it certainly was fascinating to get a glimpse into the life of one of the most successful producers in Hollywood, the frequent peppering of How Can I Make It? questions revealed an inquietude amongst Landau’s KFL audience. Many local writers and filmmakers struggle to see beyond the enormous gulf that exists between them and Hollywood.

Landau was quick to voice his support of local filmmakers. Technology has become sufficiently accessible such that filmmaking now is open to more people than ever before (an accomplishment he says they welcome in Hollywood) and that the internet provides a greater opportunity for exposure than has ever existed (he assures us that the next Spielberg will be found online).

Yet these answers somehow seemed unsatisfying. Attendees continued to ask, “How do you become a producer?”, “How do I get my script on your desk?”, and “How can I get my movie made?” There was a hint of frustration to the questions, and Landau was unable to provide a completely reassuring answer. To get into his position, he noted, one must: start at the bottom, be at the right place at the right time, and get to know the right people. To get your script out there you must: be sure to have a theme that goes beyond your script’s genre, remember that less is more, pay close attention to the last ten pages, write compelling characters, and look to literary agencies and screenwriting festivals for exposure. To get your movie made you must: ask your friends and family for cash and get to work. But whatever you do–make sure your first project is not mediocre.

Them and Us in the Age of Piracy

The gap between “them” and “us” was made even more apparent when Landau expounded upon his vision of what awaits the moviegoer of the future. For all of his advice on character and theme, it was obvious that most of what preoccupies Hollywood in the Age of Piracy is creating an experience for which people are willing to pay. The technological innovations of Avatar are only the beginning as we look forward to “4D” movies where the seats move to replicate the action on screen. Soon, Landau hopes, people will enjoy their 3D movies using their own personal set of designer 3D glasses. These glasses will come complete with USB ports, allowing the user to take their 3D content anywhere. Of course, in Landau’s vision of the future, even designer 3D glasses will be abandoned once we have the technology to make every surface (from televisions to computer monitors!) 3D to the naked eye.

It’s clear that Landau doesn’t see partnering with manufacturers of designer sunglasses as selling out. Indeed, he seemed enthusiastic about the possibilities corporate partnerships provide. Even though Avatar was granted a PG-13 rating, which prohibited them from showing the trailer during certain times of the day, Landau lauded Mattel and McDonald’s for their toy and Happy Meal partnerships and, most importantly, for their ability to promote the movie to the under-13 crowd. When asked whether marketing a movie to an age below the established rating was moral, Landau replied that he couldn’t be the moral compass for anyone else. In this case, McDonald’s deemed Avatar as acceptable viewing for consumers of its Happy Meals. Thus, Landau supposed that McDonald’s had served as his own moral compass. His sincerity elicited laughs from the audience that he didn’t seem to expect.

For local filmmakers struggling to believe that seeing their dream project on a big screen is even possible, multi-billion-dollar budgets, film-themed Happy Meals, and 4D viewing experiences are worlds away.

Still, the opportunity allowed filmmakers to let themselves dream far beyond their current limitations. Toward the end of the Question and Answer session, Landau reached into a ratty, ordinary-looking backpack with one hand and casually pulled out his brilliantly gleaming Best Picture Oscar for Titanic. Everyone gasped. Some started to tear up. It was hard to focus on anything else in the room, including Landau himself. As soon as the session ended, a crowd immediately formed around the Oscar. Each participant sought their own moment to experience what it was like to hold Hollywood’s most coveted prize. For just an instant, the participants could feel the truth of Landau’s parting words to the IdeaFestival: dreams without courage are just delusions and failure is not something to be feared, but challenged.