Monday, November 24, 2008

How does your movie get made?

A movie starts right where you’re at, right at the computer. Deep in the screenwriter’s mind is the story, the concept, the idea. Many are afraid to even call themselves a “screenwriter” as they’ve never written a screenplay or think there is some roadmap on how to get there. All though there are methods to help someone get there and help someone have a higher margin for success; films are written by all types of people.
The idea is either original, from a book, or life story you’ve heard or read about. What is needed is to obtain the rights to this idea or book or life story. If it’s your original idea, the sooner you can write a treatment, the better. A treatment is more than just an outline or 1-2 page synopses; it is more like a 25-30 page document on characters and even some scenes. Securing the rights to someone else’s story there are no set rules. Usually, the screenwriter pays a price for a predetermined period of time. Something like paying $1,000 to have the rights of the story for 3 years in order to see if the screenwriter can write then sell the script. I’ve seen all kinds of variations on this, and many clauses as well. For instance if a major player (like a studio) comes on board, prices may have to be renegotiated. At the end of the term, the rights then go back to the original owner. Warning, not every idea is a great idea however.
We all have grandfathers with great stories, but is this the best one to tell? Maybe, maybe not. Pitching the idea around to some close friends always helps. There are also online resources or forums to see if your ideas has any traction. You can register your idea at several stages, the earlier the better, with the Writer’s Guild of America and/or Copywriting your work. Registering does not give all of the legal protections as Copywriting does. When in doubt – copywrite your work.
Some good questions to ask are what genre (or category) is this film in? And why is someone going to see your film? Are there huge special effects, is the landscape grand, or are the characters diverse and have an in-depth feel to them? Is it a period piece, or based upon someone famous? This helps in developing your film to the right audience. No matter what you choose, your story must be king. Movies with agendas rarely work. No one likes to be preached at when all they expected was to come and see a film for entertainment sake. Leaving someone satisfied with being entertained, and yet leaving them still exploring the film’s theme is a great place to leave an audience. So when and doubt, be true to the story.
If you are not the screenwriter, then solicit one. Never attempt to try and just sell your idea or make a film as you work on the script. A screenplay is the blueprint of a movie, it is meant to be filmed not read. If you can’t see it, don’t write it. Writing “John is angry” must be seen, not read. When a screenplay is complete, you can attempt to sell your script through an agent; but securing an agent is no small feat. It takes a full time job sometimes just to get an agent. Inquiry letters must be mailed, deciding what agents you should reach out to and which ones are soliciting new talent. It is not wise to just mail your script off to an agent or production company or studio in hopes someone reads it. It actually puts them into a legal situation where they cannot do this, and 100% of the time it will not get you anywhere. If not an agent, you can attempt to sell your script directly to a production company. The other option is for you to make the film.
Forming an LLC around the film is the next step. Funding is sought after, and the bringing on of certain key roles. Each of the roles are also responsible for bringing on their own team members. This is your upper management level that is needed. A director, cinematographer (or DP/DOP – Director of Photography), assistant producers, and editors are some good ones to have. Someone is going to have to secure the talent as well, such as a casting director. These all work under the direction of your director. The director is the painter that is painting your portrait. But, the director must have the freedom to create. All other positions are there to assist in the director’s vision. The creative process has a life-cycle of its own, as each new person brought onto to the project brings a piece of themselves and attaches that part of them to the project; enhancing the project.
This of course is not the only way - the major studios and those who have access to them, do it differently - but how can you film get made? Well, let's talk! :)

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