Producing

To me as a director ideas are everything. Maybe this AFI clip might shine some light on that. https://youtu.be/S2RFMCmfRmc?si=L_15qhHVTa3CGdwR

Of course, Willem Elzenga. But the film doesn't get made without financing and producers.

That's true, but will they recoup.

Richard "RB" Botto What would you advise me as someone who likes to develop ideas and experiment with high-concept storytelling? A collaboration with someone who writes scripts?

I concur with Richard "RB" Botto - if you don't have a script (and/or some killer IP and hopefully both) then it's extremely difficult to get things moving - not just for you as a creator but for the producers, themselves, which is one of the reasons its so tough. You need to come in with the tools that producers can take and work with to build something. One of the main reasons the script is so crucial is that a movie or TV show is not an idea - it's a take and POV of an idea. The Sopranos isn't an idea. It's David Chase's appraoch to the characters and material and tone and world building and dialogue. Actors don't attach to ideas - they attach to a script and a character and a tone. Directors don't attach to an idea. They attach to a script that they connect with and visualize when they read the writer's work - that they we're meant to tell this story this way. Of course, some creatives have ideas that they develop themsleves and writers are often re-written, but the spark for meaningful talent to bite is the script most of the time. So most producers need that because they know if they take on an idea, they have to get a script written to do the job (most of the time). It's an extra heavy lift. As for action steps, partnering with a screenwriter is a good idea and you can network here until you find someone you connect with. Turning your ideas into IP - like graphic novels or a podcast or a book - can be a good start, and may involve different partners and collaborators. And maybe consider taking some screenwriting courses here and writing a draft of one of your ideas - Stage 32 has amazing screenwriting courses and educators that can take you from zero to sixty. That would give you the tool you need to start more meaningful conversations with producers. These are all just suggestions. Wishing you success in your creative journey. If you want to see some of the screenwiritng courses I'll share a link here so can check them out: https://www.stage32.com/education/collections/screenwriting

Find out who owns the rights with the ASCAP Database: https://www.ascap.com/repertory#/

Besides the artists, there might be a label, manager or publisher who handle rights for them. They will be listed in the database. You have to dig a bit to find who to send the request for usage. Make calls to nail the right people then request.

There are companies and individuals who will do this work for you, but not for free. I've done it myself and hired. It is sometimes a long, hard road. Make sure to say it's for a not-for-profit pursuit if it is.

Yep, what Pat said - I've definitely gotten the rights to use music directly from the band for a podcast in the past. The only time it becomes a larger issue is if your podcast starts to make money. DMing or emailing works surprisingly well for the initial contact - Best of luck!

Hi Amber Greenlee - what's the subject of your podcast? In terms of music clearances, I highly recommend this Stage 32 webinar taight by music supervisor Anna Granucci called Music Clearnaces 101 - Anna is an awesome resource and this will give you a roadmap on the process: https://www.stage32.com/education/products/music-clearances-101-how-to-s...

Hey there, Stage32 lecturer here! Just a friendly reminder, this isn’t legal advice, but here’s the scoop on music copyrights and licensing:

Every piece of recorded music has two copyrights: one for the musical composition and one for the recording itself.

Musical Composition Copyright: This covers the music and lyrics (if any) that you’d see in sheet music. It’s usually owned by music publishing companies and/or the songwriter. For example, the song “Lump” by The Presidents of the United States of America is owned by several publishers, including David M. Dederer Publishing and EMI April Music Inc.

Recording Copyright: This protects the actual sound recording of the musical composition. It’s typically owned by the record company. For instance, the recording of “Lump” used in its music video is owned by Sony Music Entertainment, Inc.

To use pre-recorded music in a film, you need several licenses:

Synchronization License: From the music publisher, allowing you to use the musical composition in an audiovisual work.

Master Use License: From the recording company, allowing you to use the specific recording in your film.

Performance License: From the publishing company (and possibly the recording company if the film is shown online), allowing you to show the film to the public.

Videogram License: From the music publisher, allowing you to make and sell physical copies of the film, like Blu-ray discs.

To find the music publisher for a song, you can search with performance rights societies like ASCAP, BMI, or SESAC. These organizations collect royalties for public performances and pay them to the music publishers and songwriters.

So, you want to use a song in your film? Here’s what you’ll need:

A synchronization license from the music publisher, allowing you to use the musical composition in your film.

A master use license from the recording company, allowing you to use the specific recording in your film.

A performance license from both the publishing company and the recording company if the film will be shown publicly, online, or outside the U.S.

A videogram license from the music publisher, allowing you to make and sell physical copies of your film.

For more detailed information, check out my book, "The Pocket Lawyer for Filmmakers." Happy filming! https://www.amazon.com/Pocket-Lawyer-Filmmakers-Independent-Producers/dp...

That's fantastic advice, Thomas Allen Crowell!

Thanks for helping to spread the word, Sam Sokolow! =)

Thank for sharing Sam Sokolow !

Get in there producers. This is an amazing opportunity to ask a question regarding investors' recoupment of revenue protocols. Thank you David!

I've only seen The Substance, Sam Sokolow. I've heard people rave about some of the other films. I think it's gonna be tough to pick winners. I think The Substance has a great chance of picking up awards. I need to catch up on the other films soon. Emilia Pérez and The Brutalist are next on my watch list out of the films nominated for BAFTA awards.

Competition each year is bigger, and for me, Emilia Pérez is the winner for many reasons. I didn’t see Conclave, but I want to see it! I love BAFTA! Thanks for sharing Sam Sokolow :))

You're welcome, Daniel Stuelpnagel. Thanks. Same to you!

I really dig "Good, Fast and Cheap!". Great play on a universal business philosophy that you can only two of them - but here's all three! - and maybe more of a double entendre on the characters themselves not just the boat, which feels more intriguing for a lark-comedy, at least to me.

Haha Sam Sokolow thanks so much for that nice take, I appreciate that and there is also a short AI sequence in the flick that speaks to the new twist on that philosophy,

for now here's a 2nd draft including the basic tagline and a more true-color photo that is more accurate to the actual production design!

Hi Daniel Stuelpnagel , no doubt my choice is: “Where The Chrome Meets The Foam!”

Sneak Preview link: https://vimeo.com/1046913135?share=copy

Superman is always close by, Sydney S!

"28 Years Later" and "Mickey 17" look interesting. A lot of sequels, retreads and reboots.

Interesting to see an industry propaganda ra.... er, I mean trade publication, hype... I mean "announce" the MPA's... uh, I mean, the audience's most anticipated films...

Mickey 17 should be a fun one, but the movie over the year came out this past weekend: DEN OF THIEVES 2: PANTERA! Pure fun and games.

None that I'm aware of so far.

I didn't watch the Golden Globes, Sam Sokolow, but I thought Demi Moore would win Best Actress – Musical or Comedy, and I thought Shōgun would win big (four wins).

Good show and recognition for the winners achievements. Nikki was very good; a bit safe...but not surprising with the Globes' troubles in past years.

No, I didn´t. Sadly that is the case with so many these days. Golden Globes are not so golden anymore...

I only saw some resume because of Europe time zone, but I am thrilled for the International Talent recognition and for the Fernanda Torres acting award beating A List stars. Her mother won the same GG twenty five years ago and now the daughter. It’s beautiful to testify this! Also Demi Moore was a reminder that isn’t never too late! Sam Sokolow I only don’t understand why “Emilia Pérez” is a Musical and Comedy movie winner, because I don’t see it as musical or comedy. Do you know why?

Nikki Glaser was excellent and her opening monologue was so funny. Pushing buttons, but never being mean about it. Great bits throughout the night from her.

Felt Emilia Perez was the weakest option for Best Picture - Musical or Comedy out of the nominees. Anora, A Real Pain, Challengers, and The Substance are all excellent movies that I would rate head and shoulders above EP.

Some very helpful tips here!

Awesome share, Maurice Vaughan. I'm a practical guy and I love tips 22 and 27. Words to produce by!

Tips 22 and 27 are really important, Sam Sokolow. I worked to produce two movies way back (I didn't finish making them), and doing the paperwork was tedious, but it's worth it.

Yeah, Maurice Vaughan - always tedius and always worth it becasue doing it all later is not only supremely hard but folks have you over a barrel.

Great advice here! One everyone should take comfort in is that there is no one "right" way to go about things.

Anyone who missed it live can watch the full video HERE: https://www.instagram.com/reel/DEqFnUMS8ed/?utm_source=ig_web_copy_link&...

Thanks, Ashley Renee Smith!

I had a dinner Ashley Renee Smith but my heart was with you and Kay! Thank for sharing :))

I’ve added a screenshot of my mobile but can’t see it.

Oh ok, Willem Elzenga. I thought you were asking who the Producing Lounge was for. I checked the web browser and phone app. I don't see the screenshot. You might need to make a new post with the screenshot on a web browser.

Hereby the screenshot.

I think it's more for producers, Willem Elzenga.

Look like it's geared toward producers but hard to tell. Stage 32 has a webinar on how to use social media to market your indie or low budget film. I recommend checking this out before making any moves: https://www.stage32.com/education/products/how-to-use-the-power-of-socia...

This is a very good sign for Europe and it’s so good watching the opportunities coming! Thank you Sam Sokolow