Monthly Archives: October 2015

Novek: An Interview with the Sci-Fi Indie Firman Brothers

I’m always on the lookout for interesting projects that relate to deep-seated issues of the human condition and the future of society and, as anybody who has read my recent novel When Winter Calls will know, I also enjoy interesting dystopian fiction that takes us away from the usual post-apocalyptic visions and into more unique and intriguing territory.

When I came across the short for Novek, I was immediately interested in the world-building and the clear talent behind the film-making and depth of cinematography. As of last week, the Firman brothers have now launched an official Kickstarter to take their idea to the next level and so I’ve been able to ask one half of the equation – Matt Firman – a few questions about the project and where they see it going next…

Novek - Title Still

Tell us a bit about yourselves and what brought you to this point…
My brother (Jon) and I grew up making films for fun.  We’d always mess around with cameras and make short films with our friends.  That was our way of playing and it was great.  But, then after high school we went our separate ways.  I went off to college and for the next six years studied over seven different majors because I didn’t know what I wanted to do.  I still loved film, but I didn’t think it was a viable way to make money (still don’t haha).  So, I settled on a teaching job, but hated it so much.  It was then that I realized how meaningless life can be unless you do what you’re most passionate about.  Jon, on the other hand, was keenly aware of this as he decided to pursue film right out of high school.  He spent a long time trying to convince me to write a story for him to film and by 2012 that’s exactly what I did.  I resigned from teaching and spent the next three years making Novek with him and although we still have a long way to go, both of us have no regrets and are very excited about this project.
The promo for Novek is very evocative, it hints at a deeper story behind the apocalyptic framework – what is it that you feel makes this dystopian vision different from others?
Well, I think the biggest difference between this apocalyptic thriller and most others is the fact that you really don’t know what the danger is.  With asteroid and natural disaster movies you know what’s happening and what the end result will be like.  With zombie and epidemic thrillers you know what’s going on and what will happen if the trend continues.  But, with Novek you’re seeing this strange, “portal-like” void in space that’s growing bigger and bigger.  No one has any idea what it is or what will happen when it reaches Earth, so there’s virtually no way to predict the end-game.  And if indeed it is a threat to our very existence, how do you fight against it?  We’re literally powerless to do anything about it and we did this on purpose because we wanted to set up conditions, which could parallel conditions that we’re seeing in our World, today.  Novek is more than just a sci-fi thriller.  It’s an allegory of our future trends and how we react to the mystery surrounding them.  Climate change and the exponential growth of technology are just like the “void” in Novek.  We don’t quite understand the nature of these trends or where they’re leading us and we certainly don’t have a lot of control over them.  There’s a certain level of anxiety that’s lingering in our time and so we want to explore that in a really cool way.
Novek - The Void
The characters you introduce are all quite atomised and solitary, they are individuals forging their own path.  What do you think this says about how we would deal with a crisis of this magnitude?  Will the end ultimately be everyone for themselves, or is there still room left for charity and solidarity in the face of annihilation?
Our main characters in Novek are different from the average person because we want to make this as unique as possible.  We didn’t want to go for the typical hero/anti-hero because we want the audience to feel surprised at every step.  But in regards to how we deal with this crisis, I think we would see a colorful assortment of responses ranging from very positive to very negative and this is what we convey throughout the series.  Some people choose to help others whereas others see this as a license to do whatever the hell they want.  People party, pray, loot, kill, and do all sorts of wild things because there are billions of us responding to this crisis, which means there are billions of different behaviors arising from this.  It’s a very surreal experience.  Even some of our main characters find their own sense of peace within this chaos and in many ways improve their lives because of the circumstances.  But then some of our characters end their lives in tragedy.  But, most people simply stop working, which means the economy stops running, so we see a shortage of goods and services being provided.  That’s where some of the apocalyptic elements really come into play.
Novek - The Characters
Who are your influences generally, and were there any specific ones for this project?
In regards to filmmakers, we have a lot of influences ranging from Paul Thomas Anderson to Daren Aronofsky.  We also enjoy stories from Christopher Nolan and Werner Herznog.  For sci-fi writers, we love Phillip K. Dick, Alfred Bester, Cory Doctorow, and Tim Maughan.  But we’re also influenced by a long range of futurists like Jason Silva, Ray Kurzweil, Michio Kaku, and Peter Diamandis.  For this particular film we were heavily influenced by the show, “Through the Wormhole”.  In fact, that’s actually where we got the idea for Novek.
How do you feel about the Indie film scene at the moment?  What are some of its current strengths and weaknesses?
The Indie film scene is more alive than it’s ever been!  Because technology has gotten significantly cheaper there are far less risks in making films.  Not to say that it’s a walk in the park necessarily, but its definitely not what it was like in the 70’s.  Back then you had to work within the confines of established institutions because gear and editing was so costly.  But now anyone can rent anything and outsource any job with the click of a button.  It still takes a lot of work and skill to generate funding of course, but even that’s getting easier with online tools like Kickstarter.  And because of this, many people who would otherwise never do film are now getting into it, so you’re seeing more unique and diverse movies.
However, the down side is that it’s over-saturating the industry so not only is it harder to market and generate a profit off your films, but it’s also caused the well-established Hollywood industry to take less risks.  I mean, there’s a reason why we’re seeing so many re-boots.  It’s much safer to use an already established franchise and make a cookie-cutter, blockbuster flick than it is to develop a brand new movie because they’re being challenged by independent companies who can make the same kind of movies.  So Hollywood is re-directing their approach to cinema by investing in more sophisticated forms of technology such as the Oculus Rift and better CGI so that they can remain competitive.  If they can’t make more stories that are better than the millions of other indie films out there, then they’ll try to make films that produce a more exciting experience for the viewer.  That’s something, which is very difficult for indie filmmakers to compete against.
So, within this century as technology gets better and cheaper, you’ll see this constant “arms race” between Hollywood and the Indie scene where Hollywood will adopt the latest and greatest and the Indie scene will soon follow, forcing Hollywood to invent more ways to enhance the experience.  But then the Indie scene will catch up again and Hollywood will once again have to re-invent themselves.  It’ll go on like this for a while, but eventually making films will be as easy as making a personal website and that’s when things will level out to a point where the industry will move from large companies to individuals.  It’ll kind of be like youtube where people post videos and only the best of the best go viral and make an honest buck.  Not so good for those looking to make their millions in film, but certainly good for humanity as a whole.
Firman Brothers

Jon and Matt Firman

What goes into figuring out the amount you want to raise through crowdfunding?  Are there hard choices you had to make about what to include to find a balance between everything you need and an achievable goal?
Well, you want to make your film as cost-effective as possible.  With that said, to actually make a quality film, you have to fork out a sizable amount of money.  Developing a budget is like balancing act.  On the one hand you want to get the best bang for your buck but on the other hand, you don’t want to skimp out too much on costs because you want to maintain quality and a suspension of belief.  That means you need good lighting, actors who can do well, a cinematographer who can pick the right angles, and a location that actually makes sense and looks real.  It’s very enticing to get your friends and family to act in your film or to use your run-down apartment as a location, but those decisions can fundamentally affect the quality of your film and thus, ruin the story.  So often times you have to really go out of your way to find that right place and hire those right actors.  And that’s where it gets costly.
Then if you’re looking to put your idea on Kickstarter, you find yourself with more challenges.  You have to factor in the amount that Kickstarter and Amazon will take out of your pledges and the cost in making your prizes and that includes the time it takes to make them as well.  If you don’t do that, then you’ll have to lower your budget for the film just to fulfill your pledge orders.  Those factors can really increase the budget, but you want to be careful not to make your pledges too costly.  It was easy for us to come up with big rewards, but very difficult to come up with ones that were feasible and cost-effective as well as cool and meaningful.  It’s another balancing act that creates a lot of headaches, but it’s totally worth the time.

Novek - Concept Art

How did you go about bringing together the cast and crew?
Film school isn’t necessary nor sufficient to make it in the film industry, but it’s certainly helpful in finding the right people.  Jon went to film school, but later dropped out when he found a nice job making corporate films.  But, he met a few friends and re-connected with them when we started doing logistics for Novek.  These were young guys doing grip work in corporate films and B-rated gigs who wanted to further their careers.  And they had friends!  So, it wasn’t that hard to find a good team of people who are ambitious and good at their craft.  It just required a little searching and networking.  And that’s paid off tremendously.  We have a great DP (Justin Chiet) who runs his own production company and an amazing gaffer (Chris Allen) who has a lot of experience working in major productions.
In regards to actors, we reached out to the best theater groups in Maryland and all of the major universities and advertised our project.  In hindsight it might have been better to go through SAG or a talent agency, but we lucked out and find some amazing people.  In particular our main actor, Vince Eisenson, works for the Shakespeare Theater Company, and does a lot of work for Discovery and the History Channel.  So, we were ecstatic when we found him and he agreed to play the role of “Sorin Turner”.
What do you hope for the future of Novek?
In the future, we see Novek growing from a short film to a full series.  We spent a lot of time crafting this story and now we’re just about ready to pitch this idea to some prospective producers whom we’re already in contact with.
So there you have it, some interesting thoughts and advice from an Indie filmmaker.  Thank you Matt for taking the time to answer these questions, and if those of you reading haven’t yet jumped over to Kickstarter to support the project then what are you waiting for?  Let’s make sure this project gets the backing it deserves!

Corporatocracy: Trust and Power (or Surprise, Surprise – Another Corporation Lies!)

Volkswagen Leaps into the Present (CC, SenselAlan)The contagion of mistrust was always going to spread further, but it was an open book as to where it was going to emerge next.  Corrupt and deeply embedded behaviours found in the financial, media and political spheres over recent years have left much of the general public completely disillusioned with those who have been deemed ‘Masters of the Universe’ – keepers of the social narratives that rule our lives, dictate policymaking and direct economies around the globe.

Perhaps nobody was really surprised by the recent exposure of emissions testing fraud coming from Volkswagen, but the brazen and conscious deception enacted in the pursuit of corporate profit was, in the words of one commentator, ‘striking in its apparent villainy’.

Beyond this recent scandal of 11 million fraudulent vehicles, the list of corporate deception and exploitation of people and planet is shockingly comprehensive.  By now we are well acquainted with the generational destruction wrought by global finance (with less well-known examples such as the profiteering of Goldman Sachs in Greece); but add to that systematic hacking by the media; unethical psychological experimentation through social media; demolishing investor value by overstating profits; directly lobbying against environmental policy protections; profiting from slave labour in the supply chain; massive levels of corruption in the world of sport; the list really could go on, and on, and on, and on

There are clearly very good reasons as to why the general public might be losing trust in both the corporate sector and our political representatives who are so beholden to it (the recent surge in popularity of both Bernie Sanders and Jeremy Corbyn’s message of honest politics is a result of this), and so the question that many have begun to ask is: just how do we restore that trust?

A great deal of time and energy has been put into well-constructed regulatory efforts, particularly in the financial sector, and many of these do seem to go far enough to stop to a lot of the potential for misconduct (which, in other areas of life, would be called crime) that we have seen over recent years.  Just as much energy, and even more rhetoric, has been put into the equally important but far more evasive areas of self-regulation that fall under the umbrella of ‘culture’.  It’s hoped that a strong combination of these two things will restore the virtue of the private sector, so that it might once again be a paragon of social infrastructure attached to a clear notion of civic duty.

The problem is, though, that even if these efforts prove successful it’s likely that they won’t be enough to restore trust.  For one simple reason: you can’t restore trust without addressing power.

Power is the elephant in the room that many people are trying to avoid noticing.  Focusing on the technicalities of corporate functioning and the professional conduct of people in business, although certainly necessary, is in many ways overlooking the true root of the collapse in public trust.  The problems that we have seen have been a result of combining ever-more powerful institutions with a market-driven ideology that crowded out the ability for regulatory fail-safes through a ‘cognitive capture’ of government policy and access that placed the collective voice of the private sector above almost every other element of society.

Furthermore, this accumulation of power leaned towards a very small number of entities (80% of global corporate control is held by only 0.61% of shareholders, predominately financial institutions, whom behave as a single economic ‘super entity’).  This has created massive problems with market competition and systemic risk, has placed companies that are supposed to be intermediaries as expensive, publicly subsidised profit takers, and has greatly skewed the policymaking of governments around the globe – often to the detriment of social services and initiatives promoting public wellbeing.

Those with power and authority must prove their legitimacy and be held to incredibly high standards of social purpose, obligation and positive effect.  Many of the current corporate structures have done exactly the opposite in a very clear manner, which is why their authority is being questioned and many are looking for ways to remove them from entrenched positions of power.  This is really what the loss of trust ultimately demands and why many people are so concerned about restoring it, being intrinsically connected to the accumulation of power and the promotion of one vested interest (private wealth) over another (public wellbeing).  You cannot restore such legitimacy in the eyes of the general populace unless this tension is openly discussed and substantial concessions genuinely offered.

Developing a notion of flourishing societal diversity, and how the narrative primacy of finance capitalism is working against such a view, is vital for steering us clear of the insatiable desire for power (manifest primarily through networks of ownership) that the market economy has provided to those who have placed themselves as custodians of its operative mechanisms. This is not ‘banker bashing’ or ‘wealth envy’ but simply to ask that the private sector justify many aspects of its activity that often come at a great expense to the rest of society, and to recognise that its needs are not the only important component of a healthy economy nor society as a whole.

Democracy (CC, Feral78)An important aspect of restoring trust is thus to openly challenge the fundamental assumptions that the private sector has relied upon, particularly over the past half century.  These are found in the form of economic and political assumptions (as Adair Turner famously put it: “a sort of 50 year-long giant intellectual mistake”), but they are also relational and boil down to assumptions about the extent to which each individual has a duty to serve the interests of their community and humanity (not to mention the diversity of life on this planet).  Such reciprocal relationships form the bedrock of our social structures and hierarchies, and they have been torn apart by the dominance of power-driven ideologies that benefit from breaking the bonds between members of society.  Encouraging the accumulation of private wealth over promoting a mature level of compassion for and solidarity with the lives of others we may not personally know.

These assumptions have taken root in the corporate world – they are not inherently of it, but can thrive within its numbers-based abstractions – and we need to challenge their existence.  It’s not enough to respond with slightly repackaged promises of shared prosperity and the irreplaceable nature of access to goods and services, a truly reconciliatory response would begin to explore the areas in which such activities should start to withdraw from the formation of society and would actively begin to encourage innovative alternatives instead.  We need a healthy, functioning private sector for many important things – but we also need to forthrightly acknowledge that the accumulation of power has become counter-productive to our shared wellbeing and human flourishing, and that the fall-back position of acting for shareholder value alone is a corrosive way to operate an economy.

This whole discussion is wrapped up in the urgent context of global inequality.  This was the inherent message expressed globally through the Occupy protests four years ago, which sharply questioned whether a system that consisted of endemic inequality should be heralded as a positive vision of the way society should function.  These protests, and many others like them, were essentially arguing that there is an imbalanced and unfair relationship at the core of contemporary capitalism, which seeks to commodify and instrumentalise for profit as many aspects of our lives as possible.  Secondarily, and importantly here, that financial sector institutions in particular were the ones gaining the most out of this imbalance whilst returning relatively little social value from new avenues of product ‘innovation’.  A large part of this critique also relied on the excessive interconnectedness between money and politics, with the decision-making which results from such self-serving connections effectively shutting out the needs and voices of large swathes of humanity.

Restoring trust is a two-way street, and so it’s vitally important to develop an understanding that social progress is an ongoing process requiring an interdisciplinary and multi-faceted approach – one with no fixed or definable goal beyond the integrity of the transformative process itself.  Anything else is to place a limited perspective that will be heavily biased by historical and ideological forces and primarily serve one subset of people over others.

This process should be reflexive and self-aware, have multiple points of intervention and avenues for change, promote self-expression within a context of mutual benefit, and should not be beholden to vested interests and hidden channels of influence.  The goals will change in response to circumstance and need, with more focus on specific and precise actions, and from this the mechanisms we use to achieve them will emerge accordingly.  As Pope Francis laid out in the recent encyclical Laudato si’: “we are always more effective when we generate processes rather than holding on to positions of power.

Power and Equality (CC, Steve Snodgrass)The importance of seeing the future as a process that unfolds in this way is that it encourages wide-ranging and inclusive conversations to take place that inform the public discourse, and this inclusive dialogue then directs the efforts of technical experts to formulate innovative responses.  In the world today we have gotten this relationship backwards, as those with deep specialisation feel entitled to solve problems often of their own creation without wider consultation with those most affected.

In the context of the private sector, this has approached fantastical levels of hubris – where it is still presumed to be the most productive and inclusive way to achieve the advancement of modern global society as a whole, even though we have seen multiple examples within a single generation that provide us with clear evidence that this just isn’t currently the case.

In the end, you can’t restore trust unless there is potential for restructuring the hierarchy of relationships and systems of power that enabled a betrayal to occur in the first place.  If we’re not willing to talk seriously about more widespread and lasting systemic change that impacts the primacy of the private sector – above and beyond iterative developments around trading rules, product codes and market structures – then ultimately nothing is being done to address the systemic imbalances causing disenfranchisement, frustration and poverty for a large, growing number of people in modern society.

Where this difficult conversation is taking place it is clear that it isn’t yet being taken seriously – as those who are currently benefiting the most don’t really want anything to change at all.  Yet the message is becoming increasingly unavoidable.  If the overseers of the profit-driven status quo don’t begin to embody a more holistic view of what it means to create an inclusive social order, then society will eventually be forced to move forward without them…having waited long enough for promises of change that never truly come.

Philip K Dick Film Festival Announces European Dates

It’s great to now be able to share you with some of the details for the European festivals being run, which include dates in France and Poland. Continue Reading