XX (a film treatment)

Title: XX
(pronounced “double x” but never officially written that way)

Created by: Channing Humphries

We find ourselves in the future with a female President. Many positions formerly held by men alone are now held by females. We follow the President or other established character home to find a wife and daughter. The viewer slowly realizes that there are only female characters.

2014 Observations:

All babies start out in female form.

Obviously people exhibit varying amounts of traditionally male (tm) traits and traditionally female (tf) traits, regardless of their gender.

The Olympics have a test for % maleness for the women athletes; over a certain amount they cannot compete as women.*

We find in our future that (tm) / (tf) couples occur more than other combinations. These are now considered the “norm.” (tm) females start to exhibit more male-like traits and (tf) females exhibit more female-like traits. The new norm starts to look a lot like the old norm as time passes.

Flashbacks will be shown to establish how we got here:

• A drug was developed (by men) to manage PMS symptoms, especially emotional ones that could hinder decision-making in women of power and women on the battlefield.
• A European country where cloning research is legal for humans makes significant progress toward cloning humans.
• At the end of WW3 99% of countries are joined in a world government using new organizations and existing ones with greater power. The male population is greatly decimated.
• Being male is decided to be a sickness that is endangering the survival of the human race as nuclear weapons were used in WW3 killing millions and making large cities uninhabitable. The small population of males are interred in camps and die out naturally. Or perhaps are eliminated. (Issue is posed of countries that do not comply, also of children and unborn.)
• Cloning advancement has perfected a way to “fertilize” (trigger the state in the egg that completes fertilization without using sperm and normally prevents another sperm from entering the egg) an egg while inserting chromosomes from another person. Cloning itself is outlawed but using chromosomes from two women is the new reproduction. Two women can only produce XX sex chromosomes, meaning only female children will be born. This is the desired result anyway. Some women will chose to be single parents and need donors.

There absolutely must be a scene of a magnified egg receiving injection of chromosomes with Xs visible and application to change state.

Optional scene: Show the muscle-bound soldiers shaving their bodies.

The finale finds us with the first “male” child born. This evolution would require the passing of a great amount of time. Then comes the dilemma of what to do now with this child and the expectation that this will be a recurring event. This is ultimately left unanswered but questions are raised.

The time passage and flashbacks required to tell the story might make it more suitable as a television series, e.g. one-year series.

© 2014 Channing Humphries. also registered with ProtectRite

Ignore the child/unborn issue until the end for full effect.  Most viewers won't consider it until it is presented.  Also highlight the absurd.

Observation (2015):

• The world won't be ready for this film for 20 years, but in a world with Caitlyn Jenner...

*I don't know if they used the male percentage tests past 2000,2002. 

• In 2004 they started allowing transgender females (male genetics) compete as females after genital reassignment surgery and 2 years hormone therapy. 
• 2016 they are going to allow pre-operative transgender females (male anatomy) to compete as females (the gender they identify as).

My Pitch of "The 1 Second Film" to Kevin Pollak

Repeat of the tweet: "@kevinpollak: just watched "Mission X",I donated as producer, ur listed n twitter publicity.Heard of 'The 1 Second Film'? [link]"

This wouldn't fit in a tweet and I didn't want to send dozens of tweets.

Dave (writer/director/producer/star) of "Mission X" sent me a copy as part of my producer package and I just have gotten around to watching it.

"The 1 Second Film" is a collaborative effort, non-profit. It is also using crowd source funding. People can join the crew free on the website www.the1secondfilm.com or donate at different levels of Producer. So far there are over 14,000 producers.

The 1 second is animation of paintings and the credits will include a feature-length documentary of the making of the project.

Currently Stephen Colbert is the highest ranking publicist with 148 referrals. We can't let that stand can we?

You can check the page out and see the celebrity producers and you can probably ask a lot of them personally to verify that they are involved.

Over $500 is tax-deductible but few donate that much. The minimum is only $1 !!!

I'm not sure how to list me as referral if you do get involved but here's my profile on the film's website http://the1secondfilm.com/crew/16964. You'll have to go to the main page to join.

It would mean a lot to Nirvan (creator/director/producer...) if you would join in the fun. (He doesn't know I'm doing this.)

Sorry to bother you and thank you if you took the time to read this,
Mr. Channing Humphries

Alabama already has a Hollywood

Granted Hollywood, Alabama couldn't be farther from the one in California in every possible way.

Alabama already has filming industry that per capita would be one of the least states in the nation, if not the least.

Some big "Hollywood" films have been made partially or entirely in Alabama ("Big Fish" "Failure to Launch" "The Final Destination" "Talladega Nights: The Ballad of Ricky Bobby" more at imdb including TV and video, etc.)

The film "Sweet Home Alabama" was filmed entirely in Georgia and South Carolina. Just one possible flag that we need an incentive program to draw more production which stimulates local economies and can bolster tourism for the state. (claim that some scenes were shot in Eufaula AL and includes condensed film in AL info)

To that end, there is a film production incentive bill to be presented this week (House Bill 69: ACT 2009 - 144-2. Though the tax code already contains some tax breaks Alabama Department of Revenue: Sales, Use & Business Tax Division: Sales & Use Tax Rule: 810-6-3-.48.05

Governor Riley announced last year Alabama's first "funded" film being "Lifted" starring former American Idol Ruben Studdard.

The bill will be retroactive to the start of 2009.

Productions budgeted at $500,000 to $10,000,000 are eligible, provided that $150,000 will be spent in a consecutive 12-month period.

Incentive is 25% of production cost excluding wages of state residents which will be reabted at 35% as an incentive to hire locals. Any rebate over amount actually owed as taxes will be paid to the qualifying production.

There is also a separate soundtrack provision for budgets of $50,000 to $300,000.

Certain types of productions for news, training, sports are not eligible.

NOTICE page 10, line 6 states that [any applying production that is eligible] shall be approved by the [Alabama Film] Office.

There is an awful lot of Investment company language that looks like a potential loophole. They require 90% or more of assets involved in the production but who is the watchdog/czar of that.

There are provisions for penalty on failure to pay, attempt at fraud, and other neglect. We are constantly bombarded with lawyer commercials for help with tax settlements. Any attempt to collect would be discretionary.

The maximum rebate (including payment to the production if tax is less than the percentage prescribed) is capped at %5M until 9-30-10 (fiscal) and $7.5M 2011, $10M after as could be amended or repealed.

There is concern within the Alabama filming community about consultation services located in California and their role, if any, in approval of projects for the incentive. Would all eligible projects REALLY be approved?


Some Alabama film organization websites:

http://alabamafilm.org
http://www.alabamafilmmakersassociation.org
Birmingham-Jefferson Film Office
Alabama Filmmakers Co-op

Some Alabama film festivals:

Mobile - South Alabama Film Festival
Birmingham - Sidewalk Moving Picture Festival
Florence - George Lindsey UNA Film Festival (see also www.lindseyfilmfest.com)
Huntsville - Rocket City Short Film Festival
Birmingham - Wild & Scenic Film Festival
Birmingham - SHOUT
Athens - Southern Shorts Film Festival
Troy - Alabama International Film Festival (see also www.alafilm.org)
Montgomery Film Fest
Birmingham International Educational Film Festival
Birmingham - LJCC Amateur Film Festival of Alabama Shorts
Fairhope Film Festival

Some Alabama college film programs:

The University of Alabama - Telecommunications and Film (TCF) Department

How to be a Movie/TV extra during a Vacation to LA

Since I lived in LA doing extra work, and actually did my first gig unpaid by paying charity (different rules apply), I know lots of people would love to be an extra on TV or in a film. Sorry but this is for people 18 and older. Some stuff applies to kids as well but there are so many more laws and the legal parent has to be there and I don't know all the details for children. Currently only US residents too or at least legal work tax number not requiring sponsorship.

You might not be able to work on your favorite show and you aren't likely to get to meet any actors. Working as background/extra means part of your job is not to bother the principals (actors). No cameras on set, no picture-taking of celebs, no asking for autographs, etc.

Now that your expectations are lowered a bit, you also have to know that you might not be made visible at all, there's a chance you could be hired and never go to set, sometimes they do all day what they wanted to get done by lunch for various reasons, etc. Even if you make it on camera, and it is VERY important to remember NOT to look at the camera unless that is your explicit instruction, it might be edited so that you don't get seen, the scene might get dropped, etc.

Now that I've burst your bubble, there is a chance you could be seen and recognizable in a shot or more than one shot. There's a small chance you could be close to the actors and even interact with them, no speaking of course unless explicitly directed to do so.

Maybe this should be in multiple parts, but I'm going to try to get enough info in here.

Given hiatus (scheduled breaks) the best months to plan such a visit would be August through November and February through April for TV shows. There will be some movie work most of the year except holidays but you never know.

Plan your trip around having an early-on Monday/Wed/Fri at the beginning and about 3 days or more afterward. Whatever you plan to do as a tourist, you will probably want unscheduled so that you have whole days available to be on set, or do sightseeing on days when you don't get hired to work on set.

For non-union (not a member of Screen Actors Guild, or if applicable AFTRA) registration with Central Casting is held M/W/F at 10:30am for about an hour or so. The address is 220 S. Flower St, Burbank CA. Be there early, dressed for a photo to be taken how you would like to appear, business attire or hip and trendy and some might have a swimsuit body and have an additional photo taken (might cost more, not sure).

Street parking only, more reason to get there early. Don't park in the bus station lot or any business lot as your vehicle will most likely be towed. If you don't mind walking a couple blocks there is usually somewhere you can park. As always in the area, check for signs about restricted parking by times/days, etc.

You will need either a photo ID such as drivers license along with Social Security card; or a valid US Passport. The registration fee is $25 cash only. The fee is subject to change, don't flash your cash stash when getting the money. There is an ATM a few blocks away, better to go beforehand.

You will be filling out a registration form and asked your measurements, height and weight, plus chest, hat, shoe, bust for ladies, dress coat for gentlemen. They will probably have measuring tapes for you to get the measurements but probably not assist you in getting them.

There will be someone giving an info talk and possibly questions but limited. You will wait in line (likely two lines) to give completed registration forms to people at computers. Have ID(s) ready. Then you will wait in another line for photo. You will pay the $25 (or current registration) at the counter where you will get your photo taken. Stand at the T, look into the camera in this case, and smile your best until the flash goes off (on and back off). They will usually be helpful to make the photo better but don't waste too much time.

There's a chance that a Casting Director (CD) will be lurking to see if there are model types or something special needed for an upcoming episode. Decide for yourself how much to admit if asked about being added to a specialty list (since you are not local, and they will be less inclined to want you, but I would recommend not lying).

Once you are registered, you can usually call in for work the same day. This is the very annoying part. Although they are not the only background casting, they handle probably 90% or more of TV shows in the LA area and some movies. The number they give you will be a recorded line of available background Casting Calls. Unless they have updated their system, there is a lot of dead air because they cannot skip empty "boxes" when cycling through them. Listen carefully to what is wanted for a call.

Have pen and paper ready when calling to jot down details and especially the number to call to try and get booked. If you hear something that matches you, and be totally honest thinking about your age and don't pretend you look more than 5 years younger than that unless dozens of people who don't know you have told you that.

There is a different line for women and men. They will ask for ethnicity and possibly age or age ranges, height, build, wardrobe, distinguishing features, special abilities (and don't claim to be able to do unless you know you're as good as they say they want, they likely need you to bring the prop or equipment and pay a little extra for that). Sometimes you will hear a call that you might have missed, and they've updated and all they need are a certain number of an age range or ethnicity. They really do have a number from production of how to fill the slots based on gender, age, ethnicity, etc.

Back to hearing something you match, on a show or movie you would like to work on. You might want to hear the message more than once before trying to call in. Sometimes it is a nightmare trying to call in. There could be a LOT of people and only a few slots. It's much easier to get booked on a "cattle call" of hundreds or even a thousand or more, but not very likely that you'll be visible in the final cut.

Don't assume you can go buy wardrobe unless you're disgustingly rich and can make anything happen quickly and know where to look and exactly what to buy for anything didn't bring with you.

If the call is for multiple days, they will usually say so, otherwise it is only for one day. Sometimes they know the Call Time (time to be on set and ready to work) and sometimes you have to assume you'll do nothing else that day and get the Call Time in the evening. One reason for this is that consecutive days have a union turnaround minimum and they decide the Call Time for the next day based on when they wrap that day.

Note that you probably have to keep calling the info line listening for Casting Calls multiple times before hearing something that fits. If you happen to be 18, you won't have to listen as long. There are a lot of calls for "18 to look younger" to play high school, etc.

OK say you've found something you fit and a day(s) you know you can commit to, you call the number that they give and either keep trying for the CD to answer or keep trying so you can leave a message. Always when calling, be ready with "First 5" which is what they refer to as the first five digits of your Social Security number. This is how they look you up in the computer. So have ready or memorize them. They'll want First 5, Name, and Project calling about. Sometimes they're only doing one at a time, other times they have multiple things going.

If they pull up your info and photo and think they can use you for the Call, they will wither give you a call time, or just a Tape # for the other info line. The Tape info line will ask for the number, and you will have to have it so write it down. Have pen and paper ready when trying to call the CD or getting a phone call from them. As I said before, all info might not be ready until the evening so you might have to call the number multiple times and enter the # for the Tape/Box. Again you will want pen and paper to jot info about the job.

There will also likely be a second # for Call Time changes. You will be asked to check that before going to bed and again in the morning to be sure it hasn't changed. Other things to consider are night calls where starting time is afternoon/evening and could run 8-12 hours or more, and location.

Probably the best thing for locations if you can afford it is Rand McNally's Thomas (Bros.) Guide. Google maps is often good enough but the actual street number placement is better with Thomas Guide. They often give page and map grid for Thomas Guide when telling you how to get to a location. If the location is a studio, your name will have been added to a list with permission to enter the studio lot. They will likely tell you where to park. There might be additional security (especially Warner Bros.) before entering the lot. Allow extra time for all of this, and finding your way to the sound stage in the lot (could be a long walk).

You will need to take additional clothes with you. There are various reasons for Wardrobe to choose different clothes and it doesn't matter, just wear one and take two changes or more and be ready to change. If they think you look like a cop or military they might have the wardrobe for you (and haircut and sizes were probably already discussed before hiring you).

Once hired, even if your a billionaire, treat this as a job, albeit paying only California state minimum wage. As background/extra you are about the bottom of the hierarchy so don't have attitude about being told what to do or where to be, etc. Also treat it as a priority to be there (allowing for horrible traffic, etc.) on time and quiet when needed available when needed, etc. Don't wander around a studio lot beyond going where you are supposed to be and the restroom, or commissary if there isn't catering.

This might not be the best time to try and do this with unemployment as it is, but maybe keep the info for later. If you want to do this, I know you will.

Know who and/or where to report to when you arrive on set. Many times you're only given the location and if you're early as you should be eager to be on set, you might wait around until more background show up or Production Assistants (PAs). A PA will usually have the vouchers (work payroll data forms) for you to sign in, and tell you where to be.

If you get an item from Wardrobe or Property (Props) you will usually give a copy of your voucher (at least three "carbon" pages) to hold so that you return the item to be paid. Not taking the pay doesn't mean you aren't stealing if you don't return Props or Wardrobe.

The PA (or possibly 2nd Assistant Director, 2nd AD) will tell you where Holding is. This is where you will sit and wait. Hopefully it isn't too close to set and you can talk, but sometimes you have to stay quiet at least while they are Rolling. You will need to be in this are or the restroom or on set at all times. If you want the option of being seen (maybe don't do the school nerd hand-raising thing) you will want to be available and actually volunteer. Sometimes if you volunteer the PA or 2ndAD will use you more often and/or place you more visibly in the shot. There is a LOT of "Hurry up and wait."

If breakfast is provided before shooting, you will be told where, etc. If you are there more than 6 hours you will likely have a lunch break (payment penalty might be chosen instead and you might be there less than 8, but you still get paid for 8 as you were hired for 8). "Come having had" means that a meal will not be provided before any shooting. There are often different lines for union and non-union food, both meals and Craft Services (sometimes called Crafty). Craft Services will have snacks and water and maybe sodas. Sometimes the different lines have the same food, sometimes they do not. If you want to protest conditions, do something when you aren't on the job as non-union. SAG (or AFTRA) regulates conditions but not for non-union. Sometimes there are state law issues. Try not to "rock the boat" unless there is a real reason to.

OK now you get called to set, and you will often single-file into a space and play the quiet game. Go where you're told and do what you're told to do. As I said before, don't look at the camera when rolling unless explicitly told to do so. Pay attention to where it/they are so you won't look for them while rolling (if you look for them, you'll be looking into the camera before you realize it). "Back to One" or "Reset" means to go back to the position you were placed at the top of this scene. Usually you'll either be told to sit at a table in the background and pretend to have a conversation, usually without speaking, or make "crosses" where you are walking in/through the background or possibly even in front of the camera. Pay attention to cues, "Last Looks" usually isn't for background, occasionally they do hair/makeup adjustments on background that is seen well, that is usually called for them to make adjustments to the principals (actors). Sometimes "Background" or "Background Action" is called separate from "Action" to have the atmosphere in motion before the action takes place. Background is there to make it look like a REAL place. Sometimes you will get done with any crossing told to do, other times they will have to "Cut" in the middle. "Places" might be called instead of "Back to One" or "Reset." You will often repeat a scene more times than you would like. Unless told to change, you will try to match the same crossing movement so editing will result in realistic, or more realistic results.

Working background you will meet all types. Try not to be judgmental. Many will be more talented than background and networking. Many networking will aspire to be producers or directors. Some will have talent and low budget projects and some might not have a clue what they're talking about. Take some things with a grain of salt but mainly just try to have a good time and be a good employee.

Hopefully I've put enough info in here to actually register and know what to do to get a job, go to it, and work on a show or movie. There's a lot of info. There are all kinds of things that might come up and I obviously haven't covered every possibility.

If you have questions you can leave a comment and I will try to answer. I would love to hear any success stories whether you just loved working a show or movie or were visible in the final cut or anything exciting you want to share.