Distribution : Ask Me Anything (AMA) Wednesday 1/22 to Thursday 1/23 - Understanding Rights Permissions & Script Clearances by Stephanie Weier

Hi, Stephanie Weier. I hope you, your family, and friends are safe during the wildfires! Thanks for taking the time to answer our questions. What's one major obstacle when handling script clearances?

Thanks Maurice, we are hanging in there. My team is in Nashville and LA. Well, the big issue is some producers want to hold off doing the script breakdown report, but it really should be done to highlight (give a roadmap) to all of the issues that production needs to address in Pre-Pro. We also do the ongoing asterisked revised scripts so when the show is delivered, the master script report is comprehensive and up to date.

For anyone who wants to make a film of any kind or any length that you want to get distribution for or monetize in any way this is one of the most valuable AMA's that you can participate in. A studio doesn't want to waste time or money cleaning up messes. You want to be in a position to move quickly when opportunity presents itself after all the hard work and perserverance that goes into getting your film made. Rights permissions and script clearances are SO important and getting them upfront is a key to success. I cannot recommend this AMA more. Thank you so much for doing this, Stephanie Weier!

Hi Stephanie Weier So glad to hear that you and you're team are safe and well. I'm actually in the Nashville area which is currently in the single digits. It's just cold! QUESTION: What exactly does the process of screenplay clearance involve? Aside from copyright, what would clearance involve for someone who writes their own scripts in conjunction with a book by the same writer? Thanks in advance!

You're welcome, Stephanie Weier. Thanks for the answer. I'm going to see if I can think of some more questions. And you handled clearances on three of my favorite movies. Terminator 2: Judgment Day and Kill Bill: Vol. 1 & 2.

Hi Leonardo, Script Reports breakdown everything in the script based on Named Characters, Locations, Prop, Artwork, Print Media, Dialogue, Vehicles, Wardrobe and organize the entire script into these categories with specific comments to the extracted item in the script. See attached sample.

Wow this is great Stephanie Weier - thank you so much. I like how it's organized. Lots to chase down but it's laid out so well to keep things straight.

Maurice, those were great movies and I was proud to be a part of them :)

Thank you for sharing your time with us today, Stephanie Weier! What are the most common mistakes filmmakers and writers make when it comes to rights permissions and script clearances, and how can they avoid them?

Can you please rate my story logline: -

'A brilliant but disillusioned defense attorney wakes up in a remote, unfamiliar house with five strangers, all claiming to have witnessed a high-profile assassination. As they piece together fragments of the event, they realize someone among them is the killer, and their captor is playing a deadly game of truth and lies.'

And some suggestions as well where to find financers etc.

Hi Ashley, while there can be many mistakes along the way that seem consistent, I believe the biggest one is that the issues on the Script Breakdown Report that we do on the initial white production draft sometimes are ignored until the 11th hour and then everyone freaks out. We just can't stress enough the importance of getting in front of issues like "life rights" or "clips" even if you know it will be put together in post, it is essential to address if you are using a person's likeness and name or using clips in the filmmaking process.

Arun, I can say that this sounds like a fun movie! Kinda reminds me of CLUE, if you don't mind me dating myself or Agatha Christie! Who dunits are always wonderful to work on. I would suggest you secure a small amount of equity to leverage yourself with actors. Get one actor attached that has name recognition for your market and then secure a location to apply for tax credits. With those, move into selling a few foreign territories with a sales agent or distributor direct and you should have enough. I recommend to keep the budget LOW as you can to qualify for SAG low budget discounts and also distributors are struggling so they want content that has enough profit margin for them.

Thankyou @stephanie Weier for your suggestions

Clue is a great film, and a nice homage to Agatha Christie type mysteries! ("They all did it!") Thank you for taking the time Stephanie. As someone who has just completed a Wuxia (think Crouching Tiger Hidden Dragon or Big Trouble in Little China) screenplay, what advice do you have for getting it in front of the right eyes, seeing as how it's a niche genre?

Hi PK, Yeah it is the age old question especially without an agent? I would suggest finding some connections on Stage 32 to agent forums and classes and hit them up for representation! Hollywood has so many guardrails and how things are structured. Also, I would attend as many mixer events as possible and hand out your card. People love cards. To be frank, the more passionate you are to getting this screenplay read, the more it will happen. For example, who do you see starring in it? FInd a way to meet them. If I can help you with some connections, please let me know. I don't know everyone but I have been around the block!

Thanks Stephanie for being here! I'm a writer/producer and rely on my fellow producers/filmmakers to secure distribution. I have to think that having distribution interested in the project before you make the movie is a big deal because it can secure talent if it looks like your film has a path. Is this normal or the golden chalice? Can you speak to this?

Thank you Stephanie Weier! Your advice really resonates with me, and I’ll be diving into agent searches and networking opportunities on Stage 32. I love the idea of personal connections being key and will definitely start attending more events. I may take you up on your kind offer down the line, and I truly appreciate your willingness to help!

Thanks for this Stephanie Weier. The script breakdown report and this thread is extremely helpful for the newbies out there. With regards to permissions, are we also talking about licenses, permits or is that later on? I imagine every country, state, jurisdiction has their own requirements, which could impact the script. Is there an easy checklist somewhere for the newbies to access that remind you what permits, etc. are needed, if applicable?

Kim Hornsby It is so difficult to get distribution to pay attention early on unless you are completely funded with a great cast/script. There is so much competition. It is always better to have distribution but sometimes just getting a few territories sold is good to get going and save the "heavy lift" for a negative pick up at a festival maybe.

Debbie Elicksen Yes you are correct. After the script breakdown report, then we do a Kick Off Call with all of the various department heads and teams so there is plenty of discussion on specifics of the show we need to address AND the procedures to submit requests to us AND the basic "rules" of clearances based on the studio and attorney I am working with (each has different feelings about tradenames in background, etc.). Then the requests come in and we start to create the Clearance Report with all of the requests added to the master report so we are the "bible" of the entire show. I love the idea of a check list. Here is a basic rules doc for Research that I send out to the shows. Feel free to share.

Stephanie Weier Thanks for this. That's great information. I downloaded it.