Phil Caraway

I’m delighted to share this essay I wrote for The Post, about mom the florist, and the profound joy of flowers. 💐  https://wapo.st/3WBGzBJ

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How do you reach the cast you want (and need) for your next movie? You're not an Oscar-winning filmmaker (yet)... Okay I'm joking, you might be (and if you are and reading this, I'd love your thoughts). But whether you're a first time producer/director, or this is your 2nd, 3rd or 10th film, casting is one of the biggest, if not the biggest, decision making components of your movie (aside from what movie to make in the first place). So should you manage your expectations or use that perceived limitation to your advantage? We're discussing Casting tonight on my live online workshop: Casting for Producers Tuesday, 6pm PT Register here: https://lnkd.in/gAv6tHRV If you attend live, you can participate in the Q&A with other students and share ideas. But don't worry, if you can't attend, you can watch the replays later for as long as you like. I also have replays for my sessions on: 1. Pitching 2. Developing a script 3. Line Producing And more to come. Registering for this workshop gives you access to all the past replays and invites to all future workshops (every 2 weeks right now).

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This incredible article in Harper's Magazine details the long-game squeeze placed on writers, not by AI or some new technological threat, but the American film industry's evolution from creative machine to corporate asset. A few standout quotes: "It used to be there were these big, crusty, old legacy companies that had a longer-term view, that could absorb losses, and could take risks. But now everything is driven by quarterly results. The only thing that matters is the next board meeting. You don’t make any decisions that have long-term benefits." "Today the Big Three asset-management firms hold the largest stakes in most rival companies in media and entertainment. As of the end of last year, Vanguard, for example, owned the largest stake in Disney, Netflix, Comcast, Apple, and Warner Bros. Discovery. It holds a substantial share of Amazon and Paramount Global." "Will there be as big a working television-writer cohort that is making six figures a year consistently living in Los Angeles as there was from 1992 to 2021? No. That’s never going to come back."

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As someone who has spent over 10 years pursuing stories and films that I hope can make a (small) difference, I am deeply troubled that Participant, the company that inspired me more than any other, has just folded. But I draw inspiration from Brad's message here - that the work mattered, beyond the bottom line. I'll carry on focusing on that, and worry about if I ever make something that pays my rent second. Because that IS the way to make things that matter (not to mention feel good to put your name to). Step by step. With the help of those who connect with each project. Theme by theme. Personal story by personal story.

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When working with VO talent, I often find it beneficial to give them a short lead in line before delivering the hero line. It allows them a moment to get into the emotional state before performing the scripted dialogue. It doesn’t have to be much. Even a few additional words can make a significant difference in their performance. Example: Scripted line: I agree with you. Lead in line: Oh, absolutely. Any other tips out there when working with VO talent? #voiceover #directing #vo

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🎬 Exciting advancements are on the horizon with Sony Pictures utilizing AI to cut costs in film and television production. As someone deeply invested in the numbers and logistics of television, events, and filmmaking, I appreciate the potential for efficiency and cost savings. My background as a line producer, UPM, and executive in charge of production, combined with my experience as a former director of internal audit at a university, makes me keenly aware of the benefits of streamlined budgets. However, I feel that we must tread carefully. The essence of filmmaking lies in its creativity, originality, and emotional resonance. AI can enhance processes, but we must ensure it doesn't stifle the magic that makes film an art form. Balancing innovation with the irreplaceable human touch will be the key to maintaining the enchantment of our industry. Let's embrace the future while safeguarding the heart of filmmaking! My suggestion would be for you to make whatever educational adjustments or investments you need to make in order to fully understand and embrace AIz. Do it because it’s here to stay. If you decide not to than you’ll get left behind and you’ll become a young old person 🚀🎥 #FilmProduction #AI #Creativity #FilmmakingMagic #Innovation #lineproducer #productionmangement #productionlife #setlife

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California has lagged in offering competitive tax incentives compared to other regions. The U.K. recently introduced a 40% corporate tax relief for studio facilities and additional incentives for independent films and visual effects. High production costs in L.A. are driven by expensive locations and substantial overhead, particularly for permits and logistics. Despite world-class facilities, competition for studio space in L.A. leads to higher prices and availability issues. The U.K. has rapidly increased its studio space, doubling in recent years, and Canada continues to invest in state-of-the-art facilities, capitalizing on global content demand. Proposed Solutions: Increase tax credits and offer targeted incentives. Streamline permits and subsidize location fees. Incentivize local vendor usage. Negotiate flexible contracts and reduce fees for new members and lower-budget projects. Invest in studio space and support virtual production technologies.

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Here's a secret: you don't have to specialize. Early in my career I was asked, "what do you want to be?" The insinuation was that I'd need to pick a specialty within film production. "I want to be able to do it all," I responded. I was lucky enough to work at a place where that would (mostly) become possible as advances in technology began to streamline access to filmmaking tools. I could be the producer, the writer and the DP. I could more effectively leave my mark on all facets of the production process. I'm aware that this goes against popular convention. Many super-smart coaches with large followings sing the praises of specializing and, in the same vein, finding a niche. I do believe that is the smart path for many. But I don't believe it is for me. My path began at RGTV, an award-winning production company based in New York led by Roman Gackowski. I was fortunate to work with a super-talented group where everyone often pulled more than their share of the weight. I won individual Emmy awards for producing, writing and shooting. Yet, deep down I wanted more. I wanted to finish the projects I started. I wanted to be an editor. At the next stop in my career, I made that goal a reality. You could also say I flirted with specialization. In David Jasse of DMJ Studios, I met a kindred spirit. A former editor himself, he understood how the final step of the production process can make-or-break a video. It was great to be a Senior Editor for someone who so thoroughly understood the craft. Soon, another opportunity knocked. Pavan Bahl from Bellwether Culture wanted to bring me on as Head of Creative production. In this role I would need to dust off many of those hats I had left dormant in the closet: videographer, producer, writer AND editor. I couldn't resist the opportunity. The first high-profile project where I could fully live out my return to being an anti-specialist was the production of a mini-documentary for NRVLD.co, featuring co-founders Pavan Bahl and Uzo Udu and partner Dale Moss. I couldn't have created this video without the contributions of many others. John Lopez and Virtue the Artist (IG: @virtuetheartist) filmed many of the beautiful visuals. Others, including Vic Ramos helped produce and shoot interviews. It was a team effort for sure, but it was also my return to putting my imprint on all facets of the production process. I served as director/producer/editor and also added some of my own vision from behind the camera. What was created was a video that immortalized an amazing multi-day gathering. But, contrary to many "highlight videos," it also weaved in substance and storytelling. I have to believe it was integral to NRVLD partnering with elite brands the very next year, most notably Art Basel and Barry's Boot Camp. If you'd like to tell your brand's story in a more effective way, reach out to me 145 Park Productions. CLIENT: NRVLD.co *Created as an employee at Bellwether Culture

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Anyone who has ever set foot on the historic Paramount Pictures lot, must be disturbed by William Cohan 's reporting in Puck about Sony and Apollo Global Management, Inc. teaming up to buy the studio's parent company, Paramount Global (formerly Viacom). Gone will be hundreds of jobs in "marketing, distribution, business affairs, digital programming, etcetera. That might generate $3 billion in savings. " If that isn't bad enough.... the " extraordinary Paramount lot, near Hancock Park, would get sold for as much as another $1 billion." Is there a more iconic image of Hollywood and movie magic than the Paramount gate? (see below) Cohan also reports that "Paramount’s films would go to Sony Pictures, and any projects in production, on the shelf, or that need a turnaround, would also go to Sony." The consolidation of media continues to be troubling. Apollo's hand in the Gannett | USA TODAY NETWORK merger hasn't been a home run for journalists or consumers. As for Sony, government regulations prohibit foreign companies from owning TV networks & stations so what would that mean for CBS. So Apollo likely would fold CBS with its majority stake in the Cox stations. But that will likely exceed the limit the government permits any one company to own. So some stations may be sold. Does any of this sound good for journalism? Consumers? The entertainment business? Probably not, but read Bill Cohan 's work because it is good for shareholders of Paramount. There is an alternative that might not be great for shareholders but has proven pros like Jeff Zucker ready to right the Paramount ship. https://lnkd.in/eNTVaNYs

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Hello, Hello ~ ) I've connected with a lot of new people recently, and I'm excited to sync up with old colleagues. Here's why... The tl;dr ~ I'm a video professional with 25 years of experience who loves the production craft (ask me about my tape collection). At mid-career, I'm focused on putting together projects in industries closer to my heart while hiring a diverse crew and helping launch careers. I'm thrilled to leverage the power of video for my clients' external communications, document internal operations for onboarding, and inspire potential employees to join their teams (to name just a few video strategies). My career path in production hasn't been linear because I've prioritized two other passions: 🧑🏻‍🎤 Artmaking: Exploring the relationship between the natural and built (as in installations, video, and collages grounded in landscape and site-specificity). 🌎 Environmental and social activism. I'm on LinkedIn to network with people in industries where this diverse background and professional experience are valued as assets. ~ I'm a passionate visual composer. ~ I care about the humanity and well-being of the people I hire. ~ My workflows and systems are built on decades of gleaned wisdom, and I'm a life-long learner. ~ I know how to craft on-budget lighting setups for people, places, and things. ~ I think sets with room for joy and levity create video assets that sparkle differently. Still with me? Awesome! Let's collaborate (and if you know anyone who might have video needs, please forward this post ~ )!

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