If you’re a screenwriter, you have two options. Produce it yourself, or option your work to a producer. In order to option your work, you need to understand who is going to buy your movie. Unfortunately, there’s more bad and incomplete information than there is good information out there. Recently, a client of mine forwarded an email he got back from a contact in Hollywood who worked as a script doctor. This email epitomized that bad information, so I thought I’d redact any contact information and publish it for others to learn from as well. (I did check with my client first, and he was good with it.)
Here’s what the script doctor said Hollywood wanted. Their responses in title, mine in the paragraphs following.
Every filmmaker wants to see their work on the big screen. However, given the state of the indie film theatrical market, very few filmmakers can pull it off outside of the festival circuit. Especially for their first films. It requires a lot of skill, and an idea that appeals to a wide audience, ideally an audience you already have an in with. So how do you scale your films to that point? Well, this blog can get you started.
Last week we talked about the 4 major types of Media Entrepreneurship, so this week I thought I’d expand on the most common production company that my readers seem to run. That’s the small production company that they hope to scale into something bigger. Here’s why your production company is a small business, and how to treat it like one so you can see it grow.
The year is starting to wrap up, so now’s a good time to plan for how to make your career skyrocket in 2019. If you’re not developing a film, you should be. But if you read last week’s blog outlining why we’re likely going to be looking at a recession in 2019, and what that means for the film industry then you might be understandably nervous as to how you’re going to get your work done. So here’s my advice to you.
In the final part of my 7 part series on writing a business plan for independent film and media, I’ll be going over all of the financial statements you’ll need in your business plan. This is a section that you’ll want to write before you write the financial text section of your plan, as it will have great impact on that section, and potentially other sections of the plan. Each document should take up only a single page.
I’m not a lawyer, but I get a fair amount of questions about the legal structure of a Production company and a film. So I thought I would write a blog about how I’ve learned to structure each individual entity, as well as the benefits and drawbacks of each choice.
Generally, you’ll want to have one legal entity that exists as your production company, and one legal entity for each project you produce. Generally, your production company will be a general partner in each project, and when each project has run it’s course, the entity will be dissolved. If you’re producing episodic content, you can probably get by with one entity per season.
I sell a lot of stuff on social media. In fact, that’s probably how you’re reading this blog right now. Since I’m very active, I also get a lot of people trying to sell stuff to me on social media. This blog is an amalgamation of some of what I’ve found works on social media, and some of the stuff I’ve found does more to harm your brand than build it.
Just like all filmmakers and Entrepreneurs are not created equal, nor are all “Rich Guys.” Many will jerk you around, and not actually deliver on what they promise. So how do you know if your potential investor is legit? Well, here are a few tips.
A lot of people are afraid of the complexity of deals with sales agencies. They have a reputation as being very dense, and difficult to understand. While there is truth to this, there’s also a general layout every filmmaker should understand. Many of the pitfalls for distribution can be avoided by knowing these 7 major deal points. That said, you should always have a lawyer or a producer’s rep look over your contract.
A lot of Filmmakers are only concerned with finding investors for their projects. While films require money to be made well, there’s are better ways to find that money than convincing a rich person to part with a few hundred thousand dollars. Even if you are able to get an angel investor (or a few ) on board, it’s often not in your best interest to raise your budget solely from private equity, as the more you raise the less likely it is you’ll ever see money from the back end of your project.
Much of this series has been focused on the numbers behind film investment. While metrics like ROI and APR are very important when considering an investment, they’re not the only reason that high net worth individuals (HNWIs) tend to shy away film. Here are 7 things that are stopping them.
Why Don't Tech people invest in Film? Part 3/7
In the words of Albert Einstein, “The most powerful force in the universe is compound interest.” He also called it “The 8th wonder of the world, he who understands it, earns it. He who does’t, pays it.” In this post, we’re going to be examining how we can use the notion of compound interest in comparison to tech and film investments.
Starting a career as an independent filmmaker is exceedingly difficult. Essentially, you’re starting a company from scratch. It may only be a company of one or two to start, but a lot of places start that way.
Due to the fact that your early days of being an independent filmmaker, your early days will be primarily sporadic gig work at odd hours, filmmakers who choose to take a full time day job can often lose out on many opportunities. Even when they do, they're often underpaid, and exposure doesn't pay the rent.
My name is Ben, I'm an Entrepreneur, Producer's Rep, and Author. I'm the founder of Guerrilla Rep Media, Co-Founder/CMO of ProductionNext, and founder of Producer Foundry. Together, the organizations seek to help make filmmaking a more economically sustainable endeavor. I am dysic, I have capitalization issues, and the blogs are often unedited. opinions all my own.
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