Who are the best feature film investors?
The presenter is Scott DuPont says the best feature film investors are not the most richest people. There are rich people who are conservative with their money and don't do something risky with their money like invest in a film.
If you are making a scary movie, then go to someone who is really interested in scary movies and ask them to invest in your film.
"Find someone who is interested in the business." Find someone who is interested in movies or the topic that your movie is about.
http://www.ehow.com/video_4395527_feature-film-investors_.html
How to Approach Potential Investors about Films:
Show enthusiasm when pitching your project and say: "Hi, I'm so and so. I'm fundraising for my film. It's called this and it's about this topic, and I have the rights to this great feature film script."
He says you pitch it and out of 10 people, 1 or 2 will say yes. After that, 1 in 4 or 5 will invest in your film. It's a numbers game.
http://www.ehow.com/video_4395528_approach-potential-investors-films.html
Dealing with Money Control in Film Making:
If you're the one who is raising all the money, then you're the one who controls all the money. Or get a lawyer or CPA to co-sign on a bank account for the film. Keep the money away from the director. The producer needs to keep the film on budget, on track, and safeguard the money.
http://www.ehow.com/video_4395529_dealing-money-control-film-making.html?wa_vrid=33d97cbb-a0c7-4dd6-b30a-78615447fdc5&cp=1&wa_vlsrc=continuous&pid=1
The Reality of Paying Back Investors for Film Investment:
Have a contract with the investors that tells them that film investment is a risky venture, and they may not get their money back. The lower the budget of the film, the quicker you can pay the investors back.
He said he had Tape Worm. He says Dov Simen's is a really good and informative film maker. I found his website:
http://dovsimensfilmschool.com/
http://www.ehow.com/video_4395530_reality-back-investors-film-investment.html?wa_vrid=783ef234-be8e-4894-919f-ab8550ea8f18&cp=1&wa_vlsrc=continuous&pid=1
When to Start Your Second Film Project:
You should finish producing your first film and then pay back your investors before you start your second film project.
As soon as your first project is done, there is a lot of excitement. Show your first film to potential investors and introduce them to the cast, crew, and the other investors. Don't wait too long. Most producers are consistent with their projects.
http://www.ehow.com/video_4395531_start-second-film-project.html
Saturday, July 30, 2011
Tuesday, July 12, 2011
Screenwriting books I've read
I have read a lot of books about writing, specifically screenwriting so I could learn the craft. These are some books that I found about writing that aren't on my college textbook reading list.
These are a couple books that I own:
The Writer's Block by Jason Rekulak. This is a quirky book about how to fight writer's block. The book is like a block. Each page is about an author and their tips, also a picture to give you a jump off point, or an idea like: "Write a story where a mother is teaching their child a life lesson." It's a good book, I bought it back in 2004.
Screenwriting for Dummies by Laura Schellhardt. I bought this book at the end of 2007. I mainly skimmed it because I was in school, working at my job, and looking for an office job. I then read it from cover to cover in 2009 after I met with the producer John Kerr. This is a really informative book about how a screenwriter should construct a script.
Books I checked out from the library:
Story by Robert McKee. The producer John Kerr recommended I read this book. McKee's name has been on a lot of screenwriting websites. The most important lesson is: "When you put your characters under pressure, the choices they make reveal character." When characters are under pressure, there is a dramatic situation and problem to solve, so it makes the story interesting. I read this in 2010.
Write from Life: Turning your experiences into compelling stories by Meg Files. It was a good book. It wasn't about screenwriting, but it's about writing in general. I read this in 2010.
Writing your Screenplay by Lisa Dethridge. It was a good book. It's been a couple years since I read it though, and I can't really remember what stood out for me the most. I read this in 2010.
Write Screenplays that Sell: The Ackerman Way by Hal Ackerman. I remember him saying to stop procrastinating and in big font said: "Write." I read this in 2010.
Screenwriting is Storytelling by Kate Wright. I read this in 2005. This is probably the first screenwriting book I ever read. I took extensive notes from it in my notebook that I still have.
These are a couple books that I own:
The Writer's Block by Jason Rekulak. This is a quirky book about how to fight writer's block. The book is like a block. Each page is about an author and their tips, also a picture to give you a jump off point, or an idea like: "Write a story where a mother is teaching their child a life lesson." It's a good book, I bought it back in 2004.
Screenwriting for Dummies by Laura Schellhardt. I bought this book at the end of 2007. I mainly skimmed it because I was in school, working at my job, and looking for an office job. I then read it from cover to cover in 2009 after I met with the producer John Kerr. This is a really informative book about how a screenwriter should construct a script.
Books I checked out from the library:
Story by Robert McKee. The producer John Kerr recommended I read this book. McKee's name has been on a lot of screenwriting websites. The most important lesson is: "When you put your characters under pressure, the choices they make reveal character." When characters are under pressure, there is a dramatic situation and problem to solve, so it makes the story interesting. I read this in 2010.
Write from Life: Turning your experiences into compelling stories by Meg Files. It was a good book. It wasn't about screenwriting, but it's about writing in general. I read this in 2010.
Writing your Screenplay by Lisa Dethridge. It was a good book. It's been a couple years since I read it though, and I can't really remember what stood out for me the most. I read this in 2010.
Write Screenplays that Sell: The Ackerman Way by Hal Ackerman. I remember him saying to stop procrastinating and in big font said: "Write." I read this in 2010.
Screenwriting is Storytelling by Kate Wright. I read this in 2005. This is probably the first screenwriting book I ever read. I took extensive notes from it in my notebook that I still have.
Monday, July 11, 2011
Thank you list Part 2
As I was writing the post: "How long did it take to write The Vertex Fighter?", there are some more people I would like to add to the list of people I would like to thank.
I would like to thank Geo Takach who I talked to about screenwriting, and he really inspired me. After that talk, it pushed me to write the complete first rough draft of the script that had 24 pages.
I would like to thank Douglas Mah and Jason Bodnar who taught me about legal issues for writers. To help copyright your script besides going to cipo.com, you can also keep drafts of your script so people can see the evolution of the script. I have saved my drafts.
I want to thank all my Professional Writing teachers who taught me the craft of writing.
I would also like to thank my classmates whom I learned beside with.
I want to thank my parents for paying for my college tuition.
I would like to thank Geo Takach who I talked to about screenwriting, and he really inspired me. After that talk, it pushed me to write the complete first rough draft of the script that had 24 pages.
I would like to thank Douglas Mah and Jason Bodnar who taught me about legal issues for writers. To help copyright your script besides going to cipo.com, you can also keep drafts of your script so people can see the evolution of the script. I have saved my drafts.
I want to thank all my Professional Writing teachers who taught me the craft of writing.
I would also like to thank my classmates whom I learned beside with.
I want to thank my parents for paying for my college tuition.
Saturday, July 9, 2011
eHow videos on film editing, staying organized, pre-production
Using Software for Film Editing in Indie Filmmaking:
Cory Turner says it can take months to edit your film. If you know your scenes, the shots you took, then you can put it in order. He bought an external hard drive to put his film on it. It can be 40G to 200G. It can cost $200-$400 for the hard drive. You can store it all in there, and move it from computer to computer.
http://www.ehow.com/video_2374511_using-software-film-editing-indie.html
Staying Organized: Tips for Indie Filmmaking:
When you are filming, you should have the script in front of you. Mark down what the take numbers are and what sequences are being filmed. When you're editing the film, you would know what take you're on and are going to use in the final cut.
Instead of having a hard drive that has like 150G of your film, go through it and take only the takes and scenes you want and save it. Then carry that hard drive with you. You're working with the footage that you want.
After you're finished, get people to watch it and critique it.
http://www.ehow.com/video_2374512_staying-organized-tips-indie-filmmaking.html
Designing Cover Artwork for an Indie Film:
If you want your film to succeed, you need to put really good artwork on the DVD cover. If you're at a video store, you will notice a movie because of the cover. By looking at the cover, you can tell what it's about like there is blood dripping on it, then you know it's a horror film.
Get bonus footage on that DVD. There are things like "Behind the scenes" so as you're making the film, have someone film you while you're making it.
There's even the DVD The Matrix Revisited which is 100% behind the scenes footage of making The Matrix. I have it on DVD.
I also have Gingersnaps 2 and it does have a guy with a 8mm camera and he's walking around set.
http://www.ehow.com/video_2374513_designing-cover-artwork-indie-film.html
Pre- production in Indie Filmmaking:
What locations do you need, what props do you need? Get someone to read the script, and have them write down all the things that you are going to need to film this movie. Check out your locations like maybe that place was good at 10am. But at 3pm, there are trains going by.
http://www.ehow.com/video_2374504_preproduction-indie-filmmaking.html
Using Storyboards in Indie Filmmaking:
A storyboard is like scripting where your cameras are going to be. It shows what the characters actions and dialogue are. If you look at it before filming, you can prepare to set your cameras and get all the shots.
http://www.ehow.com/video_2374505_using-storyboards-indie-filmmaking.html
Cory Turner says it can take months to edit your film. If you know your scenes, the shots you took, then you can put it in order. He bought an external hard drive to put his film on it. It can be 40G to 200G. It can cost $200-$400 for the hard drive. You can store it all in there, and move it from computer to computer.
http://www.ehow.com/video_2374511_using-software-film-editing-indie.html
Staying Organized: Tips for Indie Filmmaking:
When you are filming, you should have the script in front of you. Mark down what the take numbers are and what sequences are being filmed. When you're editing the film, you would know what take you're on and are going to use in the final cut.
Instead of having a hard drive that has like 150G of your film, go through it and take only the takes and scenes you want and save it. Then carry that hard drive with you. You're working with the footage that you want.
After you're finished, get people to watch it and critique it.
http://www.ehow.com/video_2374512_staying-organized-tips-indie-filmmaking.html
Designing Cover Artwork for an Indie Film:
If you want your film to succeed, you need to put really good artwork on the DVD cover. If you're at a video store, you will notice a movie because of the cover. By looking at the cover, you can tell what it's about like there is blood dripping on it, then you know it's a horror film.
Get bonus footage on that DVD. There are things like "Behind the scenes" so as you're making the film, have someone film you while you're making it.
There's even the DVD The Matrix Revisited which is 100% behind the scenes footage of making The Matrix. I have it on DVD.
I also have Gingersnaps 2 and it does have a guy with a 8mm camera and he's walking around set.
http://www.ehow.com/video_2374513_designing-cover-artwork-indie-film.html
Pre- production in Indie Filmmaking:
What locations do you need, what props do you need? Get someone to read the script, and have them write down all the things that you are going to need to film this movie. Check out your locations like maybe that place was good at 10am. But at 3pm, there are trains going by.
http://www.ehow.com/video_2374504_preproduction-indie-filmmaking.html
Using Storyboards in Indie Filmmaking:
A storyboard is like scripting where your cameras are going to be. It shows what the characters actions and dialogue are. If you look at it before filming, you can prepare to set your cameras and get all the shots.
http://www.ehow.com/video_2374505_using-storyboards-indie-filmmaking.html
Friday, July 8, 2011
eHow videos on legal issues, scripts, using cutaways in indie filmmaking
Contracts, Releases, & Other Legal Issues in Indie Filmmaking:
Cory Turner discusses the legal contracts to look at before filming are actor releases, contract releases, equipment, and music releases, and the script how to handle it and the contracts to do that.
http://www.ehow.com/video_2374488_contracts-releases-other-legal-issues.html
Scripts and Copyrights in Indie Filmmaking:
The writer has to file for copyright of his script and can transfer the rights of the script to the filmmaker. What compensation are you going to give to the writer? Are you going to get paid? Do you get writer credit and/ or producer credit?
You handle the above before production. Cory Turner does point out that we are all artists and that we want to produce the best project possible. The writer may not want changes to the script, but as it's filming and actors bring their influence to it, there are going to be changes. The director says he has creative control and can make changes because he can't go to the screenwriter every time and ask to change something.
http://www.ehow.com/video_2374489_scripts-copyrights-indie-filmmaking.html
Writing your own Script for an Independent Film:
He says before writing your script, think about all your resources that you have to make it. Do you have a car? The people that you know, the locations, people's talents, and put them altogether.
http://www.ehow.com/video_2374490_writing-own-script-independent-film.html
Using Cutaways in Indie Filmmaking:
It's when an actor is holding a cup, and then the next shot he isn't. You can't seamlessly put the shots together. He used an example where he's talking, cut to a watch, and then cut to him standing on the other side.
http://www.ehow.com/video_2374509_using-cutaways-indie-filmmaking.html
Multi- Angle Coverage in Indie Filmmaking:
If you shoot a scene with one camera, then it's boring. You shoot it with two are three cameras, and then film the scene again with a close up of the actors. Sometimes you can zoom in during a shot if you have a dolly to seamlessly zoom in.
Add some cutaways in the scene.
http://www.ehow.com/video_2374510_multiangle-coverage-indie-filmmaking.html
Cory Turner discusses the legal contracts to look at before filming are actor releases, contract releases, equipment, and music releases, and the script how to handle it and the contracts to do that.
http://www.ehow.com/video_2374488_contracts-releases-other-legal-issues.html
Scripts and Copyrights in Indie Filmmaking:
The writer has to file for copyright of his script and can transfer the rights of the script to the filmmaker. What compensation are you going to give to the writer? Are you going to get paid? Do you get writer credit and/ or producer credit?
You handle the above before production. Cory Turner does point out that we are all artists and that we want to produce the best project possible. The writer may not want changes to the script, but as it's filming and actors bring their influence to it, there are going to be changes. The director says he has creative control and can make changes because he can't go to the screenwriter every time and ask to change something.
http://www.ehow.com/video_2374489_scripts-copyrights-indie-filmmaking.html
Writing your own Script for an Independent Film:
He says before writing your script, think about all your resources that you have to make it. Do you have a car? The people that you know, the locations, people's talents, and put them altogether.
http://www.ehow.com/video_2374490_writing-own-script-independent-film.html
Using Cutaways in Indie Filmmaking:
It's when an actor is holding a cup, and then the next shot he isn't. You can't seamlessly put the shots together. He used an example where he's talking, cut to a watch, and then cut to him standing on the other side.
http://www.ehow.com/video_2374509_using-cutaways-indie-filmmaking.html
Multi- Angle Coverage in Indie Filmmaking:
If you shoot a scene with one camera, then it's boring. You shoot it with two are three cameras, and then film the scene again with a close up of the actors. Sometimes you can zoom in during a shot if you have a dolly to seamlessly zoom in.
Add some cutaways in the scene.
http://www.ehow.com/video_2374510_multiangle-coverage-indie-filmmaking.html
Thursday, July 7, 2011
How long did it take to write The Vertex Fighter?
I thought up the idea of this script back in 2006 and I wrote some pages about a girl being a fighter. After awhile I hit writer's block, so I switched it to a guy. Afterwards, I got so much more out of it. Then I went into the Professional Writing program and studied writing.
Then in December 2007, I spoke with the screenwriter Geo Takach. I should add him to my "Thank You List." He then inspired me and I finished writing the rest of The Fighter (what it was then called.) It was 24 pages.
I then started pitching the script in Jan. 2008 to all the production companies I Googled. I typed in "Edmonton TV production companies", then "Saskatchewan TV production companies" and then I pitched my script. I got rejected multiple times. Then in Oct. 2008, Glynis Whiting read my script and gave me 2 pages of notes and said I needed it to write 90 pages for it to be a complete script.
From Oct. 2008-Mar. 2009, I intensely wrote it and completed 90 pages. It took me 6 months of hard work for me to get the script to it's first draft. That draft is called "Draft 5." I had printed earlier drafts of it.
However, afterwards, I did have multiple edits and changes to the script from 2009-2011. I now have "Draft 11" which is the latest draft of the script. As I was pitching the script, I was also rewriting and editing it each time.
To answer the question, it took me 6 months to write the first draft and 2 yrs of rewriting and editing it.
Then in December 2007, I spoke with the screenwriter Geo Takach. I should add him to my "Thank You List." He then inspired me and I finished writing the rest of The Fighter (what it was then called.) It was 24 pages.
I then started pitching the script in Jan. 2008 to all the production companies I Googled. I typed in "Edmonton TV production companies", then "Saskatchewan TV production companies" and then I pitched my script. I got rejected multiple times. Then in Oct. 2008, Glynis Whiting read my script and gave me 2 pages of notes and said I needed it to write 90 pages for it to be a complete script.
From Oct. 2008-Mar. 2009, I intensely wrote it and completed 90 pages. It took me 6 months of hard work for me to get the script to it's first draft. That draft is called "Draft 5." I had printed earlier drafts of it.
However, afterwards, I did have multiple edits and changes to the script from 2009-2011. I now have "Draft 11" which is the latest draft of the script. As I was pitching the script, I was also rewriting and editing it each time.
To answer the question, it took me 6 months to write the first draft and 2 yrs of rewriting and editing it.
Wednesday, July 6, 2011
John Penotti discusses how to get started, once a film is finished
How can I get started in producing?
John Penotti says by getting into producing, you can go physically on the film set by being a production assistant or intern.
The creative side is understanding what makes a good story, encouraging writers.
Get a job at a production company, working at the development department of a studio, become a story editor.
The basic thing is to own the rights of a script, so you can produce it.
http://www.mindopia.com/video/john-penotti-how-can-i-get-started
What is a typical day/ week like?
In his entrepreneurial production company, he has to move in a lot of directions. A green shoot has an underarm umbrella. A real estate venture has a production centre like a recording studio, post production facilities, and a group of executive suites he rents out to third parties that are in the film industry.
Dealing with productions that are in pre-production, development, production, or post production has a lot of problem solving. He works with financial investors and to have an understanding of where they are in the progress of the film. It's a 12-14 hr day.
http://www.mindopia.com/video/john-penotti-what-typical-dayweek
Pros and cons (of the producer job)?
A pro is the feeling of completion of a script that went from being developed to produced, and being watched by a paying audience. That's fulfilling.
A con is time intensive job, you don't have a lot of free time. It's stressful with how money is spent, how quickly it's spent, how delicate egos are, how the creative and business side of this show business creates a lot of problems, which takes a lot of time to solve.
http://www.mindopia.com/video/john-penotti-pros-and-cons
Once a film is finished:
Ascribe a territorial basis around the world, pre-sell the distribution rights of that film, the individual territories will provide us a guarantee that they will pay us if we deliver the film to them. We will go to production, and when the film is complete, we will deliver the film to the individual territories, and they will pay us.
Or the producer makes estimates about the territories about what it will cost in each place. We will make the film and go back to see how well we did on the guesses we made.
http://www.mindopia.com/video/john-penotti-once-film-finished
Working in New York:
A lot of the story grows from the city. The talent like the cast and crew, and distributors are in the city. There is representation in LA. If you know both, then you will work well.
http://www.mindopia.com/video/john-penotti-working-new-york
John Penotti says by getting into producing, you can go physically on the film set by being a production assistant or intern.
The creative side is understanding what makes a good story, encouraging writers.
Get a job at a production company, working at the development department of a studio, become a story editor.
The basic thing is to own the rights of a script, so you can produce it.
http://www.mindopia.com/video/john-penotti-how-can-i-get-started
What is a typical day/ week like?
In his entrepreneurial production company, he has to move in a lot of directions. A green shoot has an underarm umbrella. A real estate venture has a production centre like a recording studio, post production facilities, and a group of executive suites he rents out to third parties that are in the film industry.
Dealing with productions that are in pre-production, development, production, or post production has a lot of problem solving. He works with financial investors and to have an understanding of where they are in the progress of the film. It's a 12-14 hr day.
http://www.mindopia.com/video/john-penotti-what-typical-dayweek
Pros and cons (of the producer job)?
A pro is the feeling of completion of a script that went from being developed to produced, and being watched by a paying audience. That's fulfilling.
A con is time intensive job, you don't have a lot of free time. It's stressful with how money is spent, how quickly it's spent, how delicate egos are, how the creative and business side of this show business creates a lot of problems, which takes a lot of time to solve.
http://www.mindopia.com/video/john-penotti-pros-and-cons
Once a film is finished:
Ascribe a territorial basis around the world, pre-sell the distribution rights of that film, the individual territories will provide us a guarantee that they will pay us if we deliver the film to them. We will go to production, and when the film is complete, we will deliver the film to the individual territories, and they will pay us.
Or the producer makes estimates about the territories about what it will cost in each place. We will make the film and go back to see how well we did on the guesses we made.
http://www.mindopia.com/video/john-penotti-once-film-finished
Working in New York:
A lot of the story grows from the city. The talent like the cast and crew, and distributors are in the city. There is representation in LA. If you know both, then you will work well.
http://www.mindopia.com/video/john-penotti-working-new-york
Tuesday, July 5, 2011
John Penotti discusses financial structure, rights, and duties
I found this website called Mindopia. I watched videos of film producer John Penotti.
The Financial structure of films:
He gives tips about the financial structure of a film. He says write the script and when you are given money for the film, like $5 million. What can you do with this film for $5 million?
Sometimes it won't work because that amount of money won't fit for the film. You either get more money, or you restructure the script to fit the budget.
http://www.mindopia.com/video/john-penotti-financial-structure-films
What about financing an independent film?
By ascribing an international and domestic value for a film. Say with this kind of film, with this kind of cast, then you could sell it for X amount of money. It's to prove there is a market out there for the film.
Then go into this detailed pre-production mode, with your script and proposed cast through our international sales company and get in touch with the international distributors in France and tell them about it. You ask for this X amount of money for the French rights. You will then go to each territory with your pre-production.
http://www.mindopia.com/video/john-penotti-what-about-financing-independent-film
How to acquire the rights to a project:
John Penotti talks about owning the rights to a script and idea. How you may read a book, and think it would make a great film. You go to the publisher and the author. Then you have to prove that you can take it to the next step and option the material.
http://www.mindopia.com/video/john-penotti-how-acquire-rights-project
What do you do? (The duties of a producer):
A producer is the one who pushes all the things together into production. You have to build a package that will attract an appropriate director, what cast will support which budget level.
What the film could be made for, and what the film could be sold for. You have to be able to balance the creative and financial attributes of the project. He sells the rights to distributors on an international and domestic basis.
http://www.mindopia.com/video/john-penotti-what-do-you-do
How did you get started?
Penotti says he started off as a production assistant. At the end of the day, he drove the film to the production lab so it would be developed. The next day he would pick up the film, and drive it to the set so the director can watch the dailies. The dailies are the film that's been shot the previous day.
He worked his way up from second assistant director to first assistant director, to creative producer. He was a freelancer, but it wasn't good job security. He then created a production company so there would be job security.
He was hired by studios and had worked as an estimator on how much a film would cost. He would budget it and schedule it and send it back on a production plan.
http://www.mindopia.com/video/john-penotti-how-did-you-get-started
The Financial structure of films:
He gives tips about the financial structure of a film. He says write the script and when you are given money for the film, like $5 million. What can you do with this film for $5 million?
Sometimes it won't work because that amount of money won't fit for the film. You either get more money, or you restructure the script to fit the budget.
http://www.mindopia.com/video/john-penotti-financial-structure-films
What about financing an independent film?
By ascribing an international and domestic value for a film. Say with this kind of film, with this kind of cast, then you could sell it for X amount of money. It's to prove there is a market out there for the film.
Then go into this detailed pre-production mode, with your script and proposed cast through our international sales company and get in touch with the international distributors in France and tell them about it. You ask for this X amount of money for the French rights. You will then go to each territory with your pre-production.
http://www.mindopia.com/video/john-penotti-what-about-financing-independent-film
How to acquire the rights to a project:
John Penotti talks about owning the rights to a script and idea. How you may read a book, and think it would make a great film. You go to the publisher and the author. Then you have to prove that you can take it to the next step and option the material.
http://www.mindopia.com/video/john-penotti-how-acquire-rights-project
What do you do? (The duties of a producer):
A producer is the one who pushes all the things together into production. You have to build a package that will attract an appropriate director, what cast will support which budget level.
What the film could be made for, and what the film could be sold for. You have to be able to balance the creative and financial attributes of the project. He sells the rights to distributors on an international and domestic basis.
http://www.mindopia.com/video/john-penotti-what-do-you-do
How did you get started?
Penotti says he started off as a production assistant. At the end of the day, he drove the film to the production lab so it would be developed. The next day he would pick up the film, and drive it to the set so the director can watch the dailies. The dailies are the film that's been shot the previous day.
He worked his way up from second assistant director to first assistant director, to creative producer. He was a freelancer, but it wasn't good job security. He then created a production company so there would be job security.
He was hired by studios and had worked as an estimator on how much a film would cost. He would budget it and schedule it and send it back on a production plan.
http://www.mindopia.com/video/john-penotti-how-did-you-get-started
Monday, July 4, 2011
Financial structure/ writing blog/ filming with a jib
Financial structure: I was looking up a financial structure for my pitch package. I found this website that has a chart. It tells what's being financed, how much each thing is going to cost, and the percentage it is out of the whole budget. In this example, it's $200,000.
This is from the Canadian Independent Film and Video Fund (CIFVF).
http://www.cifvf.ca/English/cifvf_resources_financial_structure.html
Pricewaterhouse Cooper is a company that helps people with taxes and created this:
I would say page 5 of this PDF is informative. Here's the lines: "Investors typically range from wealthy individuals seeking tax advantages to the recent trend of investment by highly sophisticated private equity investors. Typically, investors make a fixed payment equal to a percentage of a particular film's production costs in exchange for a similar percentage of the net returns of that title. A single film transaction, however, can result in significant volatility for the investor while reducing the down side risk of the film producer."
http://www.pwc.com/us/en/industry/entertainment-media/assets/film-financing.pdf
Writing blog: I have joined a LinkedIn writing group and it lead me to this link. It's helpful and it's all about writing. Here's her post on "Major elements of story."
http://yourplotthickens.blogspot.com/2011/06/major-elements-of-story-according-to.html
Filming with a jib: I didn't know what a jib was until today. It's a funny word. I found this video on how to film with a jib. A jib is a long stick where you attach your camera on it. You can then move the camera around and get more shots, and looks more professional.
http://www.ehow.com/video_2374497_filming-jib-tips-indie-filmmaking.html
Adjusting the jib: You put the camera on the jib, and it glides and follows the actors on screen. You can also move it up to kind of get the shot of the camera panning up to the sky, and then it fades to black, like at the end of show.
http://www.ehow.com/video_2374498_adjusting-jib-tips-indie-filmmaking.html
Storing Camera Equipment: Cameras and equipment are expensive, so put it in a bag. He says to also hire someone to take care of the little pieces like the screws and tapes.
You have to look and be professional by having all your equipment in a proper bag, instead of in a trash bag.
http://www.ehow.com/video_2374499_storing-camera-equipment-tips-indie.html
This is from the Canadian Independent Film and Video Fund (CIFVF).
Pricewaterhouse Cooper is a company that helps people with taxes and created this:
I would say page 5 of this PDF is informative. Here's the lines: "Investors typically range from wealthy individuals seeking tax advantages to the recent trend of investment by highly sophisticated private equity investors. Typically, investors make a fixed payment equal to a percentage of a particular film's production costs in exchange for a similar percentage of the net returns of that title. A single film transaction, however, can result in significant volatility for the investor while reducing the down side risk of the film producer."
http://www.pwc.com/us/en/industry/entertainment-media/assets/film-financing.pdf
Writing blog: I have joined a LinkedIn writing group and it lead me to this link. It's helpful and it's all about writing. Here's her post on "Major elements of story."
http://yourplotthickens.blogspot.com/2011/06/major-elements-of-story-according-to.html
Filming with a jib: I didn't know what a jib was until today. It's a funny word. I found this video on how to film with a jib. A jib is a long stick where you attach your camera on it. You can then move the camera around and get more shots, and looks more professional.
http://www.ehow.com/video_2374497_filming-jib-tips-indie-filmmaking.html
Adjusting the jib: You put the camera on the jib, and it glides and follows the actors on screen. You can also move it up to kind of get the shot of the camera panning up to the sky, and then it fades to black, like at the end of show.
http://www.ehow.com/video_2374498_adjusting-jib-tips-indie-filmmaking.html
Storing Camera Equipment: Cameras and equipment are expensive, so put it in a bag. He says to also hire someone to take care of the little pieces like the screws and tapes.
You have to look and be professional by having all your equipment in a proper bag, instead of in a trash bag.
http://www.ehow.com/video_2374499_storing-camera-equipment-tips-indie.html
Sunday, July 3, 2011
eHow videos on movie distribution/ pitch package checklist
Press and Publicity in Movie Distribution:
Here's a video where the filmmaker says to distribute it to film festivals. You send the film in, and you can be accepted and it will show it. You may even win awards for your film, garnering more publicity.
If you aren't in a rush to get it out to film festivals, then don't submit it. If you want your film out, and to be bought by a distributor and onto video right now, then skip the film festival.
http://www.ehow.com/video_2384828_press-publicity-movie-distribution.html
Technical Quality and Film Distribution:
It's about editing your film and presenting it in a professional and clean way. There is a lot of competition and you need good lighting, sound
http://www.ehow.com/video_2384824_technical-quality-film-distribution.html
Pitch Package: I found this websitewww.canadianfilmmaker.com about how to make a pitch package. Marguerite Pigott wrote it. I then checked my saved emails, and it turns out I have emailed her before regarding The Vertex Fighter script.
I thought that was kind of an interesting coincidence. Here's part of the article:
"These buyers make decisions based on both business and creative criteria, so your package needs to give them a complete picture of both. Send the following:
- Signed release form, if requested (I can sign that.)
- Completed application form, if requested (I can complete that.)
- Cover letter (I probably have one that's called my script pitch.)
- Budget top sheet or long form, whichever they prefer (I need to work on that.)
- Financing structure (I need to work on that too.)
- Script (I have that completed.)
- Proposed or attached cast list (I have that. Well one actor, MMA fighter Kit Cope. The others are more like actors I imagined in it.)
- Bios for all the key creatives (I have my bio.)
- Proposed production schedule (I need to work on that.)
Additional elements:
- Director's previous films on DVD if the director is not well known
- Director's notes on the project indicating tone, shooting style, use of music, or anything that will give a more complete picture of the finished product
(That's interesting. On my The Vertex Fighter blog, I did mention about what music I can see in the film.)
- If based on source material, sales figures for the source material, such as a video game, novel or comic book
- Any unique elements you think will help communicate your project's appeal to its target audience"
http://www.canadianfilmmaker.com/index2.php?option=com_content&do_pdf=1&id=8
Here's a video where the filmmaker says to distribute it to film festivals. You send the film in, and you can be accepted and it will show it. You may even win awards for your film, garnering more publicity.
If you aren't in a rush to get it out to film festivals, then don't submit it. If you want your film out, and to be bought by a distributor and onto video right now, then skip the film festival.
http://www.ehow.com/video_2384828_press-publicity-movie-distribution.html
Technical Quality and Film Distribution:
It's about editing your film and presenting it in a professional and clean way. There is a lot of competition and you need good lighting, sound
http://www.ehow.com/video_2384824_technical-quality-film-distribution.html
Pitch Package: I found this website
I thought that was kind of an interesting coincidence. Here's part of the article:
"These buyers make decisions based on both business and creative criteria, so your package needs to give them a complete picture of both. Send the following:
- Signed release form, if requested (I can sign that.)
- Completed application form, if requested (I can complete that.)
- Cover letter (I probably have one that's called my script pitch.)
- Budget top sheet or long form, whichever they prefer (I need to work on that.)
- Financing structure (I need to work on that too.)
- Script (I have that completed.)
- Proposed or attached cast list (I have that. Well one actor, MMA fighter Kit Cope. The others are more like actors I imagined in it.)
- Bios for all the key creatives (I have my bio.)
- Proposed production schedule (I need to work on that.)
Additional elements:
- Director's previous films on DVD if the director is not well known
- Director's notes on the project indicating tone, shooting style, use of music, or anything that will give a more complete picture of the finished product
(That's interesting. On my The Vertex Fighter blog, I did mention about what music I can see in the film.)
- If based on source material, sales figures for the source material, such as a video game, novel or comic book
- Any unique elements you think will help communicate your project's appeal to its target audience"
http://www.canadianfilmmaker.com/index2.php?option=com_content&do_pdf=1&id=8
Saturday, July 2, 2011
How do I get an Agent? Part 2
This is the second part of the article "How do I get an Agent?" Here's the website address:
http://www.scriptmag.com/2011/06/20/primetime-how-do-i-get-an-agent-%E2%80%93-part-one/
This is a very informative and inspirational article. It makes me want to write because he says to constantly be writing. This part in the article stood out for me:
"I often talk to writers who say they have 10 episodes of a Web series they want to sell. But simply having a work, even a work that exists in an accessible space, like the Internet, doesn’t give it value. It must prove it can generate a significant number of viewers and/or dollars. It wasn’t Justin Halpern’s hilarious Tweets that earned him a sitcom deal … it was his 700,000 followers — developed in less than a year."
I have a blog called www.badcb.blogspot.com. This showcases my writing. I also have this The Vertex Fighter blog, which really showcases how I'm studying and learning about the TV business. It shows my experience and knowledge and how hard I try to get into this business.
Here's the article:
"3) Create a property with marketable value.
Agents need writers and properties they can market or sell, and while this is much much much easier said than done, you may be able to attract representation if you create something with real marketable value.
This does not mean simply writing a script you believe is “worthy” of selling.
This means creating something that generates visibly tangible value (read: “significant dollars and/or eyeballs) … and then trying to attract an agent.
The Whitest Kids U Know
The Whitest Kids U Know began as a college sketch group touring New York comedy clubs. They began generating a large, rabid fan base … and eventually scored a TV series on IFC. They’re now repped at APA.
Mindy Kaling, currently a writer-producer-actor on The Office, burst onto the scene when she co-wrote (and starred in) Matt & Ben, a stage play that toured the country, received rave reviews, generated real box office receipts, and gave Mindy a spotlight as a writer and actress. She eventually signed with UTA.
Maxim writer Justin Halpern’s Twitter feed, Shit My Dad Says, racked up over 700,000 followers to become the basis for CBS’s 2010-2011 sitcom, starring William Shatner and produced by Halpern. He’s now repped at ICM.
I often talk to writers who say they have 10 episodes of a Web series they want to sell. But simply having a work, even a work that exists in an accessible space, like the Internet, doesn’t give it value. It must prove it can generate a significant number of viewers and/or dollars. It wasn’t Justin Halpern’s hilarious Tweets that earned him a sitcom deal … it was his 700,000 followers — developed in less than a year.
Obviously, these people are exceptions to the usual rules. But as a writer-producer, your job is to be constantly writing … and if you do create the next Matt & Ben or The Whitest Kids U Know, agents will come knocking.
What you can do: Be constantly writing, creating, pumping out new material … and getting it in front of audiences. Sketches, plays, books, shorts stories, articles, local reality or game shows … anything you can put into the world to gather an audience and generate dollars.
Write a successful play, produce a festival-winning film, sell and publish a hilarious memoir. Or …
Become a stand-up comic like Wanda Sykes, who used her stand-up to land a TV-writing job on The Chris Rock Show before becoming famous as an actor and performer (she’s now repped at WME). Found a satirical newspaper like The Onion (now represented at CAA). Invent creative ad campaigns, like GEICO’s Cavemen commercials, created by Joe Lawson, which went on to be a short-lived ABC series … and launched Joe’s TV-writing career; he’s now repped at WME and writing on Modern Family.
Not the most direct path to an agent, but he might get you there.
Again, this path is much easier said than done … but create a property that proves to have real value, and Hollywood representation will come calling. In fact, I don’t believe you can follow this path because you hope it will bring you representation; I think you follow this path only because you’re burning to write or create whatever it is you feel compelled to create. The focus must be on the work … and creating a work of quality and passion … not eventually landing an agent.
In other words, I wouldn’t recommend this path because you think it’s a quick, easy shot to a “career”; most people’s work never produces the kind of attention necessary to become Cavemen, The Onion, or Shit My Dad Says. You have to be writing and creating because you love it … you love the process, the struggle, the thrill of seeing your work come to life … not because you’re strategizing a career and believe this is the most probable path.
The most viable path is to be constantly writing, creating new material … and working in the industry, learning and forming relationships, meeting agents, execs, writers, and producers.
Anyway, I hope this helps! Next week, we’ll continue … talking in detail about where and how to actually meet and connect with agents, when and how to ask them to read you, etc.
Until then, please feel free to post comments and questions below… or email me at chad@chadgervich.com… or Tweet me @chadgervich."
http://www.scriptmag.com/2011/06/20/primetime-how-do-i-get-an-agent-%E2%80%93-part-one/
This is a very informative and inspirational article. It makes me want to write because he says to constantly be writing. This part in the article stood out for me:
"I often talk to writers who say they have 10 episodes of a Web series they want to sell. But simply having a work, even a work that exists in an accessible space, like the Internet, doesn’t give it value. It must prove it can generate a significant number of viewers and/or dollars. It wasn’t Justin Halpern’s hilarious Tweets that earned him a sitcom deal … it was his 700,000 followers — developed in less than a year."
I have a blog called www.badcb.blogspot.com. This showcases my writing. I also have this The Vertex Fighter blog, which really showcases how I'm studying and learning about the TV business. It shows my experience and knowledge and how hard I try to get into this business.
Here's the article:
"3) Create a property with marketable value.
Agents need writers and properties they can market or sell, and while this is much much much easier said than done, you may be able to attract representation if you create something with real marketable value.
This does not mean simply writing a script you believe is “worthy” of selling.
This means creating something that generates visibly tangible value (read: “significant dollars and/or eyeballs) … and then trying to attract an agent.
The Whitest Kids U Know
The Whitest Kids U Know began as a college sketch group touring New York comedy clubs. They began generating a large, rabid fan base … and eventually scored a TV series on IFC. They’re now repped at APA.
Mindy Kaling, currently a writer-producer-actor on The Office, burst onto the scene when she co-wrote (and starred in) Matt & Ben, a stage play that toured the country, received rave reviews, generated real box office receipts, and gave Mindy a spotlight as a writer and actress. She eventually signed with UTA.
Maxim writer Justin Halpern’s Twitter feed, Shit My Dad Says, racked up over 700,000 followers to become the basis for CBS’s 2010-2011 sitcom, starring William Shatner and produced by Halpern. He’s now repped at ICM.
I often talk to writers who say they have 10 episodes of a Web series they want to sell. But simply having a work, even a work that exists in an accessible space, like the Internet, doesn’t give it value. It must prove it can generate a significant number of viewers and/or dollars. It wasn’t Justin Halpern’s hilarious Tweets that earned him a sitcom deal … it was his 700,000 followers — developed in less than a year.
Obviously, these people are exceptions to the usual rules. But as a writer-producer, your job is to be constantly writing … and if you do create the next Matt & Ben or The Whitest Kids U Know, agents will come knocking.
What you can do: Be constantly writing, creating, pumping out new material … and getting it in front of audiences. Sketches, plays, books, shorts stories, articles, local reality or game shows … anything you can put into the world to gather an audience and generate dollars.
Write a successful play, produce a festival-winning film, sell and publish a hilarious memoir. Or …
Become a stand-up comic like Wanda Sykes, who used her stand-up to land a TV-writing job on The Chris Rock Show before becoming famous as an actor and performer (she’s now repped at WME). Found a satirical newspaper like The Onion (now represented at CAA). Invent creative ad campaigns, like GEICO’s Cavemen commercials, created by Joe Lawson, which went on to be a short-lived ABC series … and launched Joe’s TV-writing career; he’s now repped at WME and writing on Modern Family.
Not the most direct path to an agent, but he might get you there.
Again, this path is much easier said than done … but create a property that proves to have real value, and Hollywood representation will come calling. In fact, I don’t believe you can follow this path because you hope it will bring you representation; I think you follow this path only because you’re burning to write or create whatever it is you feel compelled to create. The focus must be on the work … and creating a work of quality and passion … not eventually landing an agent.
In other words, I wouldn’t recommend this path because you think it’s a quick, easy shot to a “career”; most people’s work never produces the kind of attention necessary to become Cavemen, The Onion, or Shit My Dad Says. You have to be writing and creating because you love it … you love the process, the struggle, the thrill of seeing your work come to life … not because you’re strategizing a career and believe this is the most probable path.
The most viable path is to be constantly writing, creating new material … and working in the industry, learning and forming relationships, meeting agents, execs, writers, and producers.
Anyway, I hope this helps! Next week, we’ll continue … talking in detail about where and how to actually meet and connect with agents, when and how to ask them to read you, etc.
Until then, please feel free to post comments and questions below… or email me at chad@chadgervich.com… or Tweet me @chadgervich."
Friday, July 1, 2011
How do I get an agent? Part 1
I subscribe to Screenwriting Goldmine. It lead me to this article: "How do I get an Agent?" This is specifically a TV agent.
From the article it says:
"So understanding all that, there are three basic ways of landing a TV lit agent:
Through personal connections and relationships
By getting yourself a job
By creating a property with marketable value
Here’s how NOT to get an agent:
By sending your scripts, unsolicited, to agents you’ve never met (even if the Hollywood Creative Directory says they accept unsolicited submissions)
By sending query letters (these go directly into the trash)
By cold-calling"
I don't send out scripts, but I send out query letters. Well, more like query emails. I did that for a couple of weeks, and then got rejected. I don't cold call.
I then stopped looking for an agent, and went back to the usual of writing my script and pitching The Vertex Fighter script to production companies through email.
"1) Using your own personal connections and relationships."
He talks about how he knew a few agents and contacted them. It's not just about having an idea for a TV show, but also having knowledge like going to school in writing. Or having experience like working in TV. He mentioned about being likeable and that's why he was hired.
"Writing staffs spend 10-14 hours a day together, jammed into tiny writers rooms. Scripts are often written, and rewritten, by entire groups working together under tight deadlines in pressure-cooker environments. As you move up the ladder, you will be expected to supervise and collaborate with directors, designers, actors, and on-set crew. As a showrunner, you may spend almost no time writing at all — much of your energy will be spent managing people and departments!"
That reminds me of an article about the TV show Rookie Blue. There is a team of writers sitting and writing. I remember reading a Buffy the Vampire Slayer book about how the writers talk about ideas and the direction the show is going to go before they write.
"What you can do: Put yourself in a position where you can meet and form relationships with working TV lit agents. Ideally, this means being in Los Angeles (or, second-best, NYC) and working in the industry. You could be an assistant, a PA, an intern, a publicist, a runner … anything that allows you to begin meeting people and forming connections.
If you don’t currently live in L.A., and you’re serious about a TV-writing career … MOVE. If you can’t move, get a job wherever you are that puts you as close as possible to the action.
Take a job at a network affiliate TV station; these places have incredibly strong ties to their parent networks, advertisers, local producers, etc. Work at a professional regional theater, and make it your mission to seek out TV agents who may represent TV writers that have playwriting experience. Volunteer with a film festival where you can begin networking with filmmakers, writers, directors, producers, and agents.
In short, put yourself in a professional position — wherever you are — that allows you to begin networking."
I should take a job at a TV station. I tried to get one at CBC, but didn't get hired. I tried to get an internship there before, but they only hire students at NAIT's TV program. I did momentarily tried to get into NAIT's Radio program, but fortunately got rejected. Thus lead me to take writing.
2) Get yourself a job.
"Many baby writers don’t get their first gig through an agent; they get it through their own contacts and relationships … often by being a writers assistant and getting promoted onto the staff."
I learned something new: "TV shows that have been on air for more than a season are required to give two freelance scripts to writers not on staff … so these often go to the writers assistants.)
And because breaking a baby is such an uphill battle, even for the most powerful representative, agents look for young writers who have already gotten their own first job … or are in a position to get their own first job (as a writers assistant, a showrunner’s assistant, an EP’s assistant, etc.)."
"Plus, agents are interested in writers who can earn money … and there’s no better way to convince someone you can earn money than by earning money.
Not to mention — work begets work. You appear more valuable to employers if you’re already busy and employed somewhere else. No one wants to hire the guy who’s been sitting on his duff, twiddling his thumbs; everyone wants to hire the guy who’s busy, in demand, constantly working.
What you can do: Get a job that’s a strong stepping-stone to a staff job: a writers assistant, a showrunner’s assistant, an EP’s assistant, etc. Again, this means living in L.A. or NYC, starting at the bottom, working your way up.
If you can’t do this … get a job writing wherever you are.
Become a news writer for your local affiliate station. Seek out local interest shows that may need writers or producers. Become a journalist for your newspaper … and, if possible, the TV or film critic, a job that could allow you contact and interview working writers, producers, agents, execs. These jobs may not help you build the required network of contacts, but they will allow you to build some cachet as a working writer … and that’s attractive to agents.
In short, agents want writers who can earn money … so if you want to be attractive to agents, you need to land yourself a job that suggests you are, or soon could be, earning money as a working TV writer."
http://www.scriptmag.com/2011/06/20/primetime-how-do-i-get-an-agent-%E2%80%93-part-one/
From the article it says:
"So understanding all that, there are three basic ways of landing a TV lit agent:
Through personal connections and relationships
By getting yourself a job
By creating a property with marketable value
Here’s how NOT to get an agent:
By sending your scripts, unsolicited, to agents you’ve never met (even if the Hollywood Creative Directory says they accept unsolicited submissions)
By sending query letters (these go directly into the trash)
By cold-calling"
I don't send out scripts, but I send out query letters. Well, more like query emails. I did that for a couple of weeks, and then got rejected. I don't cold call.
I then stopped looking for an agent, and went back to the usual of writing my script and pitching The Vertex Fighter script to production companies through email.
"1) Using your own personal connections and relationships."
He talks about how he knew a few agents and contacted them. It's not just about having an idea for a TV show, but also having knowledge like going to school in writing. Or having experience like working in TV. He mentioned about being likeable and that's why he was hired.
"Writing staffs spend 10-14 hours a day together, jammed into tiny writers rooms. Scripts are often written, and rewritten, by entire groups working together under tight deadlines in pressure-cooker environments. As you move up the ladder, you will be expected to supervise and collaborate with directors, designers, actors, and on-set crew. As a showrunner, you may spend almost no time writing at all — much of your energy will be spent managing people and departments!"
That reminds me of an article about the TV show Rookie Blue. There is a team of writers sitting and writing. I remember reading a Buffy the Vampire Slayer book about how the writers talk about ideas and the direction the show is going to go before they write.
"What you can do: Put yourself in a position where you can meet and form relationships with working TV lit agents. Ideally, this means being in Los Angeles (or, second-best, NYC) and working in the industry. You could be an assistant, a PA, an intern, a publicist, a runner … anything that allows you to begin meeting people and forming connections.
If you don’t currently live in L.A., and you’re serious about a TV-writing career … MOVE. If you can’t move, get a job wherever you are that puts you as close as possible to the action.
Take a job at a network affiliate TV station; these places have incredibly strong ties to their parent networks, advertisers, local producers, etc. Work at a professional regional theater, and make it your mission to seek out TV agents who may represent TV writers that have playwriting experience. Volunteer with a film festival where you can begin networking with filmmakers, writers, directors, producers, and agents.
In short, put yourself in a professional position — wherever you are — that allows you to begin networking."
I should take a job at a TV station. I tried to get one at CBC, but didn't get hired. I tried to get an internship there before, but they only hire students at NAIT's TV program. I did momentarily tried to get into NAIT's Radio program, but fortunately got rejected. Thus lead me to take writing.
2) Get yourself a job.
"Many baby writers don’t get their first gig through an agent; they get it through their own contacts and relationships … often by being a writers assistant and getting promoted onto the staff."
I learned something new: "TV shows that have been on air for more than a season are required to give two freelance scripts to writers not on staff … so these often go to the writers assistants.)
And because breaking a baby is such an uphill battle, even for the most powerful representative, agents look for young writers who have already gotten their own first job … or are in a position to get their own first job (as a writers assistant, a showrunner’s assistant, an EP’s assistant, etc.)."
"Plus, agents are interested in writers who can earn money … and there’s no better way to convince someone you can earn money than by earning money.
Not to mention — work begets work. You appear more valuable to employers if you’re already busy and employed somewhere else. No one wants to hire the guy who’s been sitting on his duff, twiddling his thumbs; everyone wants to hire the guy who’s busy, in demand, constantly working.
What you can do: Get a job that’s a strong stepping-stone to a staff job: a writers assistant, a showrunner’s assistant, an EP’s assistant, etc. Again, this means living in L.A. or NYC, starting at the bottom, working your way up.
If you can’t do this … get a job writing wherever you are.
Become a news writer for your local affiliate station. Seek out local interest shows that may need writers or producers. Become a journalist for your newspaper … and, if possible, the TV or film critic, a job that could allow you contact and interview working writers, producers, agents, execs. These jobs may not help you build the required network of contacts, but they will allow you to build some cachet as a working writer … and that’s attractive to agents.
In short, agents want writers who can earn money … so if you want to be attractive to agents, you need to land yourself a job that suggests you are, or soon could be, earning money as a working TV writer."
http://www.scriptmag.com/2011/06/20/primetime-how-do-i-get-an-agent-%E2%80%93-part-one/
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