When you think Philly, Sharon Pinkenson wants you to think movies.

This week that’s a little easier with the opening of the 20th annual Philadelphia Film Festival, a celebration throughout the city put together by the Philadelphia Film Society that promotes the city and acts as an ambassador for Philly to Hollywood’s brightest stars.
 
Could it be that we're nearing a time when movie and TV productions become Rocky-esque, ubiquitous icons of the city? Indeed, it may be a lofty goal, but Pinkenson is confident and sees the region's current movie and TV production market as a natural manifestation of the area's industrial past.

"Philadelphia used to be a region that produced moving parts. Increasing, we create moving pictures," she says. "It's just another kind of manufacturing."

Pinkenson is the executive director of the Greater Philadelphia Film Office. The office's primary objective is to attract movie and TV projects. They are plugged into the supporting elements throughout the region -- producers, casting directors, crew and studio resources, government agencies, and more. They are essentially the central processing unit of the regional film and TV industry. And perhaps most importantly, they help filmmakers navigate and understand the state's film incentive program. 

At the time when Pinkenson took over the fledging film office in the early 1990s, Philadelphia saw only a couple of projects per year. With the introduction of an enhanced state film incentive program, and thanks to the work of Pinkenson and her staff, the region has seen more than 100 movie and TV projects since 2004, according to its website.

"(The state's incentives) are everything. And we would not have an industry without them."

Pinkenson explains that it used to be that filmmakers were attracted to a city or region because of its visuals -- its location. But with the increased use of digital technology, filmmakers can make any city look like Philadelphia. Combine that with growing incentive-program competition from other states and Canada, and the region must work even harder to bring-in projects. Or, clone a few more Shyamalans. 

Pinkenson calls Lower Merion Township's M. Night Shyamalan "our hometown hero." Shyamalan has filmed no less than seven big-budget features in and around Philadelphia. Shyamalan's long time right-hand man and oft assistant director, John Rusk, says Shyamalan “loves it here" and prefers the Philadelphia region as a backdrop for his narratives.
Rusk agrees with Pinkenson that the region is primed to be a center for the movie business.

“There are really great and experienced crew and talent here. And Philadelphia’s central east coast location is ideal."

He points to the newly opened soundstage in Delaware County as one of the signs that the region is growing as a TV and film production center. Another is The Neighborhood in North Philly, as featured in Flying Kite earlier this year.

In addition to the region growing its movie-making cachet, more productions mean jobs for hundreds of regional talent, producers and crew, and creates a home-grown gateway for industry hopefuls.

With the potential of an influx of jobs and a diverse labor market of actors, producers, production assistants, casting directors, makeup artist and hairstylists, set designers, equipment techs, graffers, grips and a variety of supporting vendors , it would seem that there would be plenty of opportunities to find your way in.

However, those who decide to make a career in the TV and film business in Philadelphia--or elsewhere--often find that the path isn't easy. And harder still is navigating the course once you embark on the journey.
 
An Immaculate Conception
Local producer John Rizzo knows well the challenges of making a career in the film business. Rizzo, a Cheltenham native and LaSalle High School grad, has been at it since the early '90s. Rizzo co-produced the locally set and shot 'The Mighty Macs.' Set in 1972, it tells the true story of the Immaculata College basketball team. "Mighty Macs" was directed by fellow Philadelphian Tim Chambers and is slated to hit theaters Oct. 21.  

Like many in the 'biz,' Rizzo's entree into the film business didn't come with a Google Maps guide that included alternate directions and travel time. Instead of precise GPS mapping, all you get is an internal compass that works off your gut, heart and head, but can't point out the real opportunities from the dead ends.  

"There's no one path. There's no one formula," he says. "If you're looking for a career that you can map and be fairly confident will produce the desired result, I'd suggest an MBA or law school."

Before settling back into the Philly area, Rizzo's compass took him to New York City, where he ended up waiting tables at the New York Deli. There he met and began working with a group of talented percussion artists that had the crazy idea of creating a stage show based on tapping, banging and beating on whatever they found laying around—pipes, trash cans, bottles, etc. The world knows them today as the Blue Man Group.  

From there new opportunities arose, and Rizzo had to decide which road to take. He calls the Blue Man Group "the most creative experience of my career." However, he realized that he had to broaden his industry acumen to have a chance to really make it. After four years with the group, he decided to hone his skills and left, embarking on a new leg of the journey.

"It wasn't an easy decision to leave Blue Man. But I knew that if I wanted to end-up where I wanted, I had to develop other skills. I had to be patient and honest with myself about what I needed to be successful."

From Hand-Holding to Sgt. Pepper
Film composer and Philadelphia resident Rodney Whittenberg echoes Rizzo's sentiment and applies a Beatles illusion.

"I find that young film makers want to make 'Sgt. Pepper's' but don't want to write 'I Want to Hold Your Hand,'" he says. "You don't start your career as Steven Spielberg or James Cameron. And neither did Spielberg and Cameron."

Whittenberg should know. He has composed for dozens of independent feature films and TV, including ABC TV and A&E, and has taught film and television composition at local colleges for many years.

A committed songwriter, Whittenberg applied his passion to rock'n roll in the 1980s and '90s. But after fronting a variety of bands, he became frustrated and quit to focus on music composition.

Through a contact, he secured a corporate video project, but "failed miserably." And his score was never used.  He realized that if he wanted a chance to compose for feature films he'd have to spend more time learning.  What followed was an eight-year journey of hard work and a commitment to development a keen sense of direction.

"You need to network and take advantage of opportunities," he says. "But you have to take the right path."

Whittenberg says if your goal is to be a feature film director, don't set out in a direction that would seemingly allow you to step from obscurity to stardom. Focus on your immediate needs. As both Whittenberg and Rizzo discovered, these are often the less glamorous, basic skills. But how does one figure out what those immediate needs are? Where's the starting point? Whittenberg suggests working backwards.

"Explore your voice when you're young and find out what you love and what you're good at. But it's essential to be self-critical," he explains. "Eventually, you'll discover the ultimate objective and from there work backwards. Consider all of the elements, skills, contacts and opportunities to realize your goal."

What emerges is a roadmap of sorts that provides a starting and end point and includes a variety of route choices in between. The challenge is to choose the right stops and to plan each portion of the journey at the right time. However, too often individuals choose the wrong path and get mired in destinations that lead nowhere. Not only does this include those inopportune navigational decisions but also in those with whom one chooses to associate.   

Business is Business
A line from 1985’s "Brewster's Millions," starring Richard Pryor, may be an ideal slogan for aspiring filmmakers and even those well ensconced in the industry. Paraphrased here: "We're in business to be in business."

As Pinkenson, Rusk, Rizzo and Whittenberg would agree, the film business is ultimately a business. And it may be the hardest thing that aspiring filmmakers, actors and the seemingly limitless other uncounted heads have the most difficulty learning, navigating or accepting.

"If you want to do the work, you have to do the business," says documentary film maker Yvonne Latty. Latty, a former Philadelphia Daily News writer and journalism professor at New York University's Arthur L. Carter Journalism Institute, knows the business of movie-making. In a word: money.  

At a recent movie industry networking event in Philadelphia, Latty shares her film-making experience. With a diverse cadre of local industry colleagues gathered around her, she explains how when she was nearly finished her 30-minute documentary about uranium contamination on a Navajo reservation she ran out of money.

Determined to complete her project, Latty tapped the online funding portal Kickstarter. Of course the only catch is once you set your funding goal, you have to raise all of the money before the deadline. If you don't, you get nothing.

Although she says it was "emotionally exhausting," Latty pulled it off. "I have no qualms about begging," she says smiling.

Of course any success leads to new opportunities. And as local filmmakers do well, so does the region. But not everyone is convinced that the Philadelphia region is ready for prime time.

Nicole Patriarca and Morgan Gioffre are film students at The Arts Institute in Philadelphia and were in attendance at the industry networking event. Neither are Philly natives but "love" the city. Both see Philadelphia as "up-and-coming" but for now call it a "stepping stone" to a career centered in Los Angeles or New York. For the region to be viable TV and film center "there needs to be more production and big budget films," they say.

However Rusk, who has worked with Shyamalan on nearly all of his feature films and is currently in pre-production with him on a new feature scheduled to begin shooting in early 2012, feels confident that Philadelphia is making its mark and on a path to realizing Pinkenson's goal.

"Many of my West coast colleagues who originated from the Philadelphia area are returning because they are seeing opportunities."

And after shooting movies all over the world and in 26 states, Rusk calls Pennsylvania and the Philadelphia region his favorite place to make movies.

"Philly isn't Hollywood, but it doesn't need to be to be successful."

Rusk's Tips for Success:

• You need enthusiasm and passion for the medium. It's not as glamorous as many think.
• You have to be tenacious. Never give up.
• Learn how to balance work and home life. Many don't survive because they can't find that balance.
• Clearly identify your goals.

Whittenberg's Tips for Success:

• Network. Relationships are everything.  
• Study business.
• You need to be willing to do what it takes, even if it doesn't immediately align with your ultimate vision.
• Develop a healthy balance between creativity and business.

Rizzo's Tips for Success

• Read everything!
• Believe in yourself and your abilities and never give up.
• There are no dumb questions. Ask away.
• Surround yourself with positive people who have the same aspirations as you.
• Make movies. Get a camera and just start shooting. Practice as much as possible.

MARK I. McNUTT is a longtime area musician, filmmaker and journalist. Send feedback here.

PHOTOS:

John Rusk

Rodney Whittenberg

Sharon Pinkinson

John Rizzo

Inside the Philadelphia film office

Photos of Rusk and Whittenberg by Jeffrey Stockbridge

Photo of Sharon Pinkenson by Michael Persico