Producing : Ask Me Anything (AMA) Wednesday 4/2 to Thursday 4/3 – Producing Feature Films by Theo Dumont

Hi, Theo Dumont. Glad to meet you. I hope you're having a great spring! Thanks for taking the time to answer our questions! What genres and topics excite you the most right now?

Hi Theo! I'll ask the first question from your list. What is your criteria for taking on a new project? I recently found out that some producers are uncomfortable with unsolicited material, so is there any way to help my work stand out without representation?

Hi Theo Dumont - Thanks so much for sharing your time with us in this AMA! Funny that I was just looking into Holly Shorts this morning. Question: What genres are doing well for you right now?

Thanks for being here, Theo Dumont! With so many exciting projects on your slate, how do you assess whether a script or filmmaker is ready for the kind of global positioning you specialize in? And what advice would you give to emerging creatives looking to build relationships with producers like you?

Hi Theo Dumont and I am so pleased to know you. Thank you for doing this AMA for us. Congratulations for your achievements and specially Die Like A Man. I have two questions: 1) What do you feel when you see Alta Global Media projects on screen?

2) Where do you seek financing?

Thank youuu

Hi Theo Dumont thanks so much for offering this Q&A! I'd love to know more about how you have addressed challenges is obtaining financing in this current climate? Thank you!!

Hello Theo Dumont what are the projects you are looking for now?

Hi Theo, can you talk about the deals you make with sales agents? Thank you!

Hi Theo,

Great you're doing this AMA!!

My question:

Can a killer POSTER hitting all the right buttons, be the final tool in convincing producers to finnance a movie?

General speaking, liike:

(1) The picture is already tellling the whole story without any dialog or even the title;

(2) it has a killer title;

(3) a kiiller tagline;

(4) a clear conflic in combination with a gripping contradiction;

(5) and, maybe most important, a 'shocking' amount of Irony. (see 4)

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Thank you, Rutger

Greetings from sunny Greece! My question is simple. I've developed and filmed 3 full episodes of something new The Savage Roads biker adventure series. Unscripted but focused on the global passion and adventures riding but for once showing the good people who ride and sharing with my viewers different cultures, food, art, history, music and of course the experiences as a motorcyclist by me a well know musician who has performed in 56 countries and want to show the world that 99% of us are good folks, law abiding and all the diverse spiritual beliefs and in all languages. My question is Do you think this is a solid idea? You rock!

Hi Elena. For sales agents as we have a variety of different type of films we have a network of agents we approach case by case for each film depending on the needs. I like to always try and meet with new people to have more options for our projects. We have a go-to list of fantastic companies we work with but a good tip is to look at films that are similar to yours (or what you are aspiring to), see who's representing the films, research the company see what other films are on their slate and what how those titles have fared. If you like them, ask for a general. Always see what their terms are and have an attorney review before you sign anything.

How are you Rutger,

We are big believers in the power of strategic marketing. So yes a poster or key assets are vital in all aspects of the project. I do believe the right poster is an element in the early stages. Your presentation is everything and the poster is the calling card for your project. Just be careful not to reveal too much too early as you need to hold the final poster for the release of the film. But you need to focus on more than just the poster for your financing, more importantly, how will they make their money back. From a financiers perspective Filmmaking is a business so the poster needs to be part of your pitch deck and that deck needs to spell out the art and the business side of your project.

Hi Pat, I hope Greece is great! We have a client who shot a series there called “Karantina”

I like the series idea, how far along are you? It’s a good idea in theory, I always begin with the end in mind and for marketing, distribution and financing, your topic can lend non-traditional brand partnerships that can help you get this made and promote it effectively once it’s done. Also it sounds like a global format where you can do different versions in other countries.

Theo Dumont hi Theo, what do you look for in a horror script? What makes a new script stand out from any other? Or is a horror film a horror film, if you know what I mean? Also, do you find that the Streamers Re looking for dark-themed material? I recall a while ago, someone from Netflix saying they are looking for lighter material, as they felt that the service had more than enough dark stories.

Although, how does that fare with the likes of Adolescence? Maybe dark material sells, because people like them during uncertain times?

Hi Theo! I hope all is well. My short film has been running the festival circuit this year (including HollyShorts London, which was a fantastic experience by the way!) and after a YouTube release, I'm in development for a feature version. I have a few questions surrounding that - do you have any specific advice in regards to adapting a short film into a feature? Obviously it's better pitch material than something like a pitch deck, but since most of the studio system seems to be dead-set on existing IP, does it help in other ways that I might not be thinking of? We've had pretty good traction on YouTube and have picked up a bunch of awards on the festival circuit etc.

I've been writing the screenplay for about 9 months, and soon will begin heavier pitching/development to seek financing and production support. I already have some companies/producers interested, so I'm curious what the most important variables are to you when taking a project through development/financing? And a slightly separate question, but something that I see a bunch of different answers on: at what stage do you usually put together a top sheet reference budget, and how?

Thanks so much! - Caleb

Hey Maurice Vaughan

Nice to meet you too. Currently we have an eclectic slate both on the film and TV side.

We are very excited about our horror films and thrillers. We also have unscripted both in film and TV in the areas of sports and music.

Hi Joshua

Every case is different but I agree for legal purposes we don’t like unsolicited material. It needs to come from some sort of reputable representative or sometimes another credible source. We have to protect ourselves to avoid any legal issues regarding any IP. While we look at projects at a variety of stages, the foundation is a good script that needs to be airtight before anything. Also I advise friends to build from within, you don’t have representation, who can you team up with to strengthen your presentation and package. Find some like minded producers who can be your allies and take the project into the major/serious rooms and sources.

Theo - how do you think international creatives can get their film projects made outside of traditional government programs considering it's a global landscape now these days?

Thanks for the answer, Theo Dumont. What's a major problem you see with scripts that get submitted to you?

hi Theo Dumont how were you able to pitch your idea and get someone to agree on sponsoring your project?

Hi Theo. Nice to meet you.

Hello Leonardo Ramirez!

Glad you are taking a a look at HollyShorts, we have a deadline coming up April 4, we get some incredible films there. As far as genres, what's working well for us are thrillers, horror, sports, and music-both for film and TV. Anything we take on needs to have a global appeal.

Hi Ashley, thanks for having me!

We have a system internally for the script we are considering which involves a deep dive and close review. This phase is the vital blueprint for the project so the script needs to be very good. As far as the filmmaker goes, any projects we take on involves a tremendous amount of investment on our end, time, resources, energy, staffing---so we need to align on the overall goals for the project. It’s a longterm business arrangement that we are both working towards so we need the filmmaker to have a collaborative approach. My advice would be to do your research, watch many many films, see who is making them, take general meetings to see what those producers you like/admire are looking for. In that process you’ll make relationships and that’s the key to this business, in any territory.

Hi Sandra

Thank you so much, we are so proud of the "Die Like A Man" Director Eric Nazarian, he’s the definition of the true independent spirit. It’s taken him over a decade to get this film to the finish line and now it’s time for the world to see the beautiful project.

When our projects go on screen it feels incredible, it’s a tremendous achievement to get a film made but also especially in this challenging time and industry contraction. I’m also proud to see other friends films on the screen, it feels equally fulfilling sometimes as we know how difficult it is. For financing we seek many routes. Private individuals, relationships, private equity mostly but also brand partnerships or strategic company finance partners often, also debt financing, we always seek the tax incentive options. We look at distribution opportunities at the same time as the financing.

Thanks so much Theo Dumont. I've got a short script that has been through a few consults and coverage that I get back this week so I'll take another look. It's grounded fantasy with international locations so we'll see how it does.

Hi Geoff Hall

The Script needs to be tight as that’s the blueprint to what we see as the business plan, we look at each project we take on like a business. We look for originality, great plot/pacing/structure, tight dialogue, marketability and viability in the current landscape/marketplace.

The streamers demands change daily, I would look at the forecast but focus on your story, getting your script as tight as possible with what I mentioned above. If you are writing for them, by the time it’s finished their mandates would have changed again so my pet peeve is follow your gut your instinct but get the script as tight as possible, make it undeniable. And like producers you should also read the top scripts, all the time, use resources like The BlackList.

Theo Dumont hi Theo, what do you look for in a horror script? What makes a new script stand out from any other? Or is a horror film a horror film, if you know what I mean? Also, do you find that the Streamers Re looking for dark-themed material? I recall a while ago, someone from Netflix saying they are looking for lighter material, as they felt that the service had more than enough dark stories.

Although, how does that fare with the likes of Adolescence? Maybe dark material sells, because people like them during uncertain times?

Hi Theo! Thanks! Hopefully this will help me.

Theo Dumont Hi Theo. Nice to meet you virtually and thanks for generously giving us your time! As someone interested in supporting actors' and crews' well-being on set, I’m curious—have you ever worked with a well-being or mental health coach during a production? Is that becoming more common in the industry?”

Hi Lakshmi, It’s not the first down market and won’t be the last, the key to survival has been to have strong bonds, strong relationships, allies and people you trust working with you that’s on both sides creatively and finance partners, investors distributors. What we’ve done is keep close with current investors, sponsors and partners, have transparency always and that keeps them coming back. For new financing, it’s approaching investors who share our philosophy, many are private individuals so there’s often a learning curve as film isn’t your typical investment and can be quite high risk. But what they want to see is a thought through plan, a track record, a vision of the path to profitability. Also we are always meeting people by doing our own home grown events. With the down market it’s also a great time and opportunity to build from within. You’d be surprised how doing your own thing and fundraising in a creative way will attract a friend of a friend who wants to get into the film world. But be prepared have your finance plan in order.

Hi Theo Dumont thanks so much for offering this Q&A! I'd love to know more about how you have addressed challenges is obtaining financing in this current climate? Thank you!!

Thank you Theo Dumont for your answers. I almost felt your enthusiasm describing what you feel when you see your company and friends projects on the screen. Thanks for sharing with me. I know the feeling in the business industry, but I wanted to read from you in the filmmaking industry. Your advice on financing is so much valuable, thank you. I wish you the best and keep that good energy you have and shared with all of us. Thank you.

Whatever happened to Daniel?!

Theo Dumont thanks for taking the time to answer my questions. It’s great to see you here in the AMA.

Hi Caleb Reese Paul, so great to hear from you!

The Lake in the Sky was fantastic, loved having you at HollyShorts London. Congrats on the feature.

As far as top sheet budget, I would do that after you have the script air tight. I would have the script finished and read by great people so you can have feedback, as you know now you have a bigger canvas so this needs to be also extremely compelling, beginning, middle and strong end. But have some major industry pals doing a reading with you and get feedback to see if the feature is on the right track. Then work on the business side, budget, top sheet, deck, finance plan. I know you are familiar with the casting process so any attachments that are within reach with your dream scenarios approach them.

As far as adapting the short into feature we have many of them, the strong piece though is still your feature script get that in order. The short, is an excellent calling card and something to point to definitely in your materials and the reference point. But as you are going into bigger rooms now, you need to think in terms of the feature on its own having the lifeline. The essentials you will need when taking this out...

Package (director, producer, cast, etc...)

Finance Plan

Script

Budget (top sheet at least)

Sales Estimates

Waterfall

Completion Guarantor?

Desired date of close and general timeline

pitch deck

Idea of shooting location, tax credits, presales

Hi Theo! I hope all is well. My short film has been running the festival circuit this year (including HollyShorts London, which was a fantastic experience by the way!) and after a YouTube release, I'm in development for a feature version. I have a few questions surrounding that - do you have any specific advice in regards to adapting a short film into a feature? Obviously it's better pitch material than something like a pitch deck, but since most of the studio system seems to be dead-set on existing IP, does it help in other ways that I might not be thinking of? We've had pretty good traction on YouTube and have picked up a bunch of awards on the festival circuit etc.

I've been writing the screenplay for about 9 months, and soon will begin heavier pitching/development to seek financing and production support. I already have some companies/producers interested, so I'm curious what the most important variables are to you when taking a project through development/financing? And a slightly separate question, but something that I see a bunch of different answers on: at what stage do you usually put together a top sheet reference budget, and how?

Thanks so much! - Caleb

Hey Chaz Fatur,

Do you mean Daniel Sol? He's still co-founder and director of HollyShorts. He's also very involved our production company arm of the festival 88th Street.

Whatever happened to Daniel?!

Hey Amanda Toney! thanks for having me today! Really great questions in the lounge.

As far as international creatives and getting their film projects made outside of traditional programs that’s a great question. We often offer this perspective to many colleagues and the short answer is yes. Our build it within philosophy these days is real and that applies for international creatives. The entrepreneurial approach we take to each project in the U.S. can be used abroad. These can be done in a hybrid capacity. We have a film at the moment with a UK production partner, where part of the financing is coming from the U.S., part of it in the UK, we are looking for the gap and looking at creative ways to do that i.e. private equity. When there’s a will there’s a way and with the challenges worldwide you have to find a way!

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Amanda Toney

Theo Dumont Hi Theo. Nice to meet you virtually and thanks for generously giving us your time! As someone interested in supporting actors' and crews' well-being on set, I’m curious—have you ever worked with a well-being or mental health coach during a production? Is that becoming more common in the industry?”

Hi from the Isle of Wight (UK) Theo, great to virtually meet you and thank for your insights and encouragement. My friend Pat Savage sent me this link as he has a series ready to go…vroom!