Producing

I produce projects that I write, so it definitely starts with the script. I do have the occasional writer with a project that they'll ask if I'd like to come on as a producer. I only consider outside projects if they have, not only a great script - or at least a great idea, but also something or someone involved or attached the project that makes it easier to sell. Once you have a great script, the next step would be to find an actor or a director who loves the project enough to attach their name to it.

Sam is spot on. Read the script! Read it once for the pleasure of reading it. It's the only time you'll experience that. After that it's time to look at turning pages into images that will end with releasing it.

I am working on producing scripts that I write as well. If I were hired to produce a screenplay that is not mine, I would read it first and talk to the original writer to changes I think would helped the project. If the writer does not want to make changes, I would walk away from the project if I feel it won't have legs. Otherwise, I work out my shooting schedule so I can create answers to questions posed by investors.

Thanks for this post Ashley Renee Smith

Ensure the script is Amazing or can get there (or don't get involved.) Then budget, cast (to support the script and budget), finance (based upon script, budget and cast), distribution, production.

That’s is so wonderful Amanda Toney

Having suffered 4 years of absolute development hell, I can well imagine all the ups and downs you've gone through!

Having funding stripped away after interest because of BS lockdowns was always the hardest, but finding the will to go on when enthusiasm is low and your bank balance is non-existent, is not a test I'd not suggest anyone pushes oneself through, unless absolutely committed and in a relationship which can stand the strain... because, yes, such a fruitless, long ordeal can be put pressure on every couple!

But you got there in the end - congratulations!

As for us: we're still not getting a penny from the grant-awarding body (it seems to massively favour 5 companies!) but we got approached by a company in Thailand and we're developing a package to go out, which has given us a new feeling of focus and hope.

The other project will get made, it's just been placed on the backburner for now.

EDIT:

Sorry, I didn't mean to make this post all about me/us, but all these, NEVER GIVE UP! posts never once prepare hopeful individuals for the hardships that lie ahead.

I'm glad you weathered that stormy sea; may you find a city of gold!

How awesome!!! Perseverance can be the biggest difference maker and such a great example for the community on how to stick with the projects you believe in. Way to go, Amanda Toney!!!

Thats fantastic news! Congratulations Amanda Toney !

Big congratulations Amanda & team!

Great advice and insight, Patrick McIntire! I tried to make two feature films way back, and knowing these things and hiring a professional like you would've really helped.

Great advice! Thank you for your insight into this very important aspect of filmmaking.

Thanks for the sales pitch.

Very nicely said Patrick McIntire and I hear you from way down in Slovenia.

I agree with you on being prepared and you're right!

Maybe people should be more prepared, but what if even that's not enough?

I recently had a really nice conversation with a producer who has worked on films and commercials for 30 plus years. He told me one simple thing, that it doesn't matter if you have everything including the screenplay, pitching material, budget, etc. But if you've never done a feature film, nobody will give you funding for a feature film until you've done a feature film. If it sounds like a catch 22, maybe because it is.

Don't get me wrong I still think that it's a great idea to be prepared, I always like to be. But...

Patrick McIntire You raise great points, Patrick but what playbook are you working from? For the most part, producers, actors, and distribution companies are always out to screw the investors. If they wanted to play fair, no movie would lose money, but we all know how that happens and that's by signing into horrible deals. The term "Bankable Talent" is a joke by the definition itself. We also know how producers can move money from the production budget into their own pockets and having a distribution company that won't let you do any promotion for the film yourself is just another way to overcharge for their services.

Before the world has changed into what it is now, independents and investors were pretty much getting screwed in every aspect of the financing world. What have investors learned in the last 5-8 years? How are films like Captain America: Brave New World and Disney's Snow White going over budget with re-shoots and rewrites with seemingly no accountability to the added cost and then having the resulting re-shoots not improving the final film, it's anticipation or it's performance at the box office at all?

Anyone can look up SAG scale rates, union labor costs and daily, weekly, or monthly equipment rental costs and put together a budget allowing at least 25% of the budget going for post production. I can tell investors what I'd be planning to spend per minute while I'm on the set directing.

Negotiating with the seedier elements of this business is really the key. If I have a film with a $1.5M budget that's an action film, from original source material with a targeted "R" rating, and a worldwide known actor extremely interested in the part, investors should know that that those facts means it has a better than average chance of making its money back and producing a profit. The price is right for a genre that is always on the top of the market shares as is the source material. The rating usually switches between 2nd and 3rd place in market shares depending on how many films come out that year.

So the question remains, who's playbook are you calling plays from? Is your service up to date or are you selling earnest and hopeful filmmakers snake oil? You said that investors won't listen to big dreams and they shouldn't. However, you stated that your work helped gain over $200M in financing.over the last several years. You see what I'm getting at? I'm sure you're on the level as while it seems you know your stuff, you're not giving us any real proof of anything and if Oscar winners are claiming they are broke, what kind of financial condition do you think we're in?

I'm sure you're great in what you do but there are no guarantees in this business. Not for investors and definitely not for those of us that would be willing to spend money on something that might not do it's job in the long run.

Yes. It's a win for you and win for indie producers.

Lindbergh E Hollingsworth thank you!

Hi, Sandra Isabel Correia. You're right. It is a fantastic blog! And great questions! I've seen behind-the-scenes photos and videos of actors and crew members hanging out. I think that creates a sense of community.

Hi Maurice Vaughan. That’s an interesting way to see sense of community and I didn’t think about that! Thanks for highlighting! The actors and crew vibe is vital and of course all comes from the leadership, producers and director. Thank for sharing! It is an amazing blog and looking forward for part 2.

You're welcome, Sandra Isabel Correia. I'm looking forward to part 2 of the blog series too!

This is a fascinating stat and speaks volumes to the global expansion of production. RB has been saying for a while now, you have to be thinking globally while developing your stories - they can be competely authentic to a time and place but the whole world is the marketplace and films and shows are coming from emerging and traditional markets. It's an exciting time to be a viewer and an exciting time to be a creator.

Sam Sokolow Absolutely. I believe a big take-away from current conversation is people around the world are showing that they want to see local stories these days, people of their culture. For decades Hollywood was the lure and everyone wished to see the American stories. This seems to be a slow-moving, long gestating tipping point. While US content and stories will abound, this opens new avenues daily.

Key elements in these decisions are the tax incentives provided by the countries and relative cost of crews. European co-productions are always attractive as they can come with both national and European incentives.

Ewan Dunbar Great points! Indeed the financials are attractive, my point above notwithstanding as well.

Years ago I worked with a fantastic group out of Melbourne called Tandem Media. I heard from someone that they had a short film this past year that was in contention for an Oscar nomination. Haven't spoken with them in a while but you may want to look them up and reach out.

Thanks Sam!

Gareth Taylor, commenting to highlight this for my network! I'm hoping others than I know will have some great suggestions for you!

Thanks Ashley Renee Smith

I'm looking forward to seeing a lot of these films, Sam Sokolow! Like Drop, Death of a Unicorn, Clown in a Cornfield, Holland, Hallow Road, and O’Dessa.

Sam Sokolow, Austin has exploded in the last 24 hours. I have two friends in town to work at SXSW, one staying with us all of next week, and the traffic is already insane. The lineup looks fantastic this year, and I have to agree, Clown in a Cornfield is an incredible, albeit hilarious horror title. It definitely sets expectations. Lol!

Thank you Patrick McIntire for your insights and sharing your expertise with us! I learned :))

Use whatever comps you feel is right. Its a creative and artistic process, also for investors.

This is such an important post, Patrick. The misuse of comps is something I see all the time. For those new to producing and film financing, this is a great reminder to do the due diligence.