Filmmaking Fans

            There are a lot of people I know that complain about the films that are coming out of Hollywood, and yet when I ask them what is the last independent film they went and saw to support they cannot name even one. But when asked what studio film they saw last, they rattle off films even from the past opening weekend.

            If you are a true fan of something, the worst thing you can do is be passive. There is so much white noise out there with all of the distractions it’s a wonder that anything without a major budget makes it at all. If you enjoy fantasy films, get out there and enjoy them, enjoying them equals supporting them!

            I have some good friends that love to listen to audio books. And when they find a good one, they let all of their friends borrow their CD. That is the worst thing a true fan can do. Think of it this way – your money is your “vote” to keep whatever you love going. Be it a film, book, or band. Independents do not have deep pockets and the only way they’ll survive is if you get out and vote for them. Let others know about it and then encourage them to buy a copy of their own.

            Fan engagement is down so much that in order to get just a few fans into action – indie filmmakers must spend a ton of resources to spur them into action and even then if you get 20% you are doing great. It’s a good time for indie filmmakers and yet a hard time. Good in the sense that the price of equipment has dropped significantly, the digital age of acceptance is upon us and the distribution platform is ever expanding. It’s a hard time for us as there is so much content out there all competing for the elusive fan.

           

            I believe there are 3 types of “fans”. The first is just someone who is passively interested in your film (The Looker). The 2^nd will like your fan page and may buy your DVD, but not much more than that (The Seeker). The 3^rd is the most important, but is so hardest to achieve, and that is an ambassador of the film (The Doer). Ambassadors will like your page buy your DVD and most importantly they will share your film with their friends and actually engage you when you post things or ask questions, and will be a voice for the film. They are the life-blood of indie filmmakers.

So should you find yourself enjoying an indie film/book/band/game – get out there and help spread the word and vote with your dollar!

           For without you we are nothing. 

How to find out who’s really in charge of a film?

Filmmaking is a team sport, but who’s in charge? Well, there are many people who make it happen, but at the core are the producers. The producer is the one who shepherds the production from start to finish. And there are many variations of producers: executive producer, producer, co-producer and associate producer.

An “executive producer” is usually someone who secures at least 25 percent of the film’s budget. He or she rarely has any creative control over the project or much involvement beyond funding. An executive producer also can be involved in several projects at one time.

A “co-executive producer” generally applies to a studio exec or distributor who has financing involved as well. 

A “co-producer” works under the producer and helps with casting, financing and post-production.

A “line producer” is the person on set who primarily supervises the budget and business issues, generally staying clear of the creative aspects.

An “associate producer” is given usually as a position of reward or favor for a job well done. The title can be offered for many reasons from funding to incentives on set or during production.

The “producer” is the one who brings on a writer and assists with developing an idea, buys a script or secures rights. He or she often hires the director, supervises casting, and assembles a crew. The producer oversees the budget and then coordinates the post-production work—everything from editing, to hiring a person to score the film, to encouraging the talent to promote the movie however they can.

In the independent world, the producer is the one who finds the money and makes it all happen. There’s a new rising responsibility to the producer role for indies, however. A producer also should be someone who can keep his or her eye on the prize by helping develop an audience for the film early on in the process. He or she bangs the drum and lets the world know the film is out there.

The only thing from preventing you from making your project happen might be finding the right producer.

Earn the Title. Stay Motivated. Be Responsible.

Through the years of being a filmmaker, I’ve met several self-proclaimed filmmakers. Upon further investigation, I find out they actually have never made a film, but really want to. Well, I hate to disappoint, but in my book that’s not a filmmaker; it’s more of a film enthusiasts. You have to earn the title by doing a film. It’s hard work, and it’s better not to take that title for granted. Filmmakers give up so much to make a film. They struggled, worked hard and power through to make a film. I’m convinced that unlike the “one ring” in “Lord of the Rings” “wants to be found,” as Gandalf describes, a film is just the opposite. A film doesn’t want to be made; it fights you at every step of the way. Only the few complete a true full-length feature film (narrative or documentary). Those few know what I’m talking about. It’s not for the faint of heart, nor is it a simple title given away and used lightly; it’s one that is earned.

And, being a filmmaker is like working out at the gym. I was looking around this weekend at all the many other people in the gym with me. They weren’t the elite bodybuilders. Most of them were out of shape, but there they were going for it right along with me. No matter how out of shape they were, it was their effort that motivated me. I actually had a better work-out because of their exerted effort. Surround yourself with motivated individuals, and you will find yourself rising to new heights. Filmmaking is tough, so it’s critical that you stay motivated. You got to go for it, but in the right way. Wildly going for it is a crazy persons’ game and for the young.

I’m not 21 anymore. When it comes to working out, I have to ease in, not just jump in all crazy like. I have to go into working out, and filmmaking, with responsibility. Lately, I’ve talked to filmmakers that are willing to go “all in” on their first shot. They are willing to give up everything and risk their family’s welfare along with it. This is just rash, and even false bravado. I fully understand the urge and desire to prove you have what it takes, but, keep in mind, most films will never return a profit to their investors. I know we think we have “the one” idea that will change the way film is done, but in case you don’t, there is nothing showing a little responsibility when you make a film.

If you do these things, it still won’t be easy, but before you know it you might just have a film and be a filmmaker.

What do I need to do to get (re-)started in filmmaking?

A friend of mine recently reached out to me and asked, “Help, I don’t know how to get back involved with filmmaking!” She is a great writer, but due to life’s circumstances, she has not written anything for a long time. She is now married with two small children that demand her attention. She had given up her writing to pursue her dreams of becoming a wife and a mother – very noble things. But, the passion in her heart for filmmaking never ceased. She was able to keep it at bay for awhile, but recently it’s called her gently out of her Hobbit hole. She does not share this same calling with her family, so it takes being around other creative people to help foster this longing.

I can totally relate, but for people like us we can never leave filmmaking on the altar for long. It’s more of a calling than a desire to just do film. Our goal is not a hobby, but a profession. But, she had been out of it for so long, she no longer knew where to look. Here’s what I offered her, which can be for a writer, actor, or filmmaker:

1. Find the local 48 Hour Film Project in your area. http://www.48hourfilm.com/ - they have them all over the world. People take them very seriously and really give it their all. I was very impressed about the team I found myself on. Or there are others, like the 168: http://www.168project.com/

The point here is really to surround yourself with filmmakers – reach out and make connections. Plus, you get to say you actually completed a project – how many writers/actors/filmmakers can say that?

2. I was a little skeptical about this next idea, but when I attended one – I found 25 other local filmmakers just like me. Check out the MeetUps in your area: http://www.meetup.com/.

The group had gear and desire – they are still meeting today making projects.

3. Just about every college out there has some type of film program. Look within their communications department. You can either a) take a class, or b) volunteer for student projects. Just reach out to them, let them know what you can do, and be a contributor when you get a chance.

4. Use social media to find filmmakers – from YahooGroups, to Google+, to Facebook (of course). Filmmakers know other filmmakers.

I have found most people out there have a desire to make things as professional as they can and they are willing to sacrifice for it. If you can't find a group in your area, I encourage you to step up and start a group then (be a producer). You never know, you might find yourself taking 30 days off work and doing a feature!

Here’s to making next year about doing projects!

What other advice would you have offered? Leave a Comment and share! 

Stay connected with us!

We are all over - how about you?

http://www.TheFellowsHipMovie.com http://www.OAPFilms.com http://pinterest.com/ronnukem/the-fellows-hip/ http://www.flickr.com/photos/40256188@N08/ https://twitter.com/OpeningActProd http://www.youtube.com/oapfilm http://thefellowshipmovie.blogspot.com/ http://www.imdb.com/title/tt1669814/ http://thefellowshipmovie.com/film.html http://ronnukem.tumblr.com/

Is piracy really a big deal?

http://my.spill.com/photo/movie-piracy

We've had people tell us to offer our movie for free and then ask for people to give (financially) as they see fit... really, that's a business model? It might be, but not one where you could stay in business for long or make more films. It might work once as a stunt, but it’s no way to do business. Part of the thinking was that people will pirate your film anyway, so give them the content so you can have some form of control over it. But is that really control? It’s seems like letting the pirates take over your ship. You’re still captain, but you’re locked in the brig.

I believe piracy is a huge deal and greatly impacts the film industry, especially the indies. I know the numbers are hard to find for an exact amount (financially) of the impact. Piracy isn’t good for anyone, but larger film companies can rebound from piracy and have more recourse and resources to fight piracy than small indie companies fighting to survive.

There are entire countries that do nothing to control entertainment piracy. You can walk the streets and order pirated movies, knowing they are pirated, and no one cares--it’s a way of life--and that’s a problem. Just talk to any deployed vet, or anyone that has visited China, Russia, Korea, Indonesia or heck even New York City. Just ask your friends. I would guess 3 out of 5 of my friends have pirated a movie, or supported pirating in some way, most innocently. They've downloaded a film at some point for "free." Or they've made copies for their friends after they themselves have paid for the film. All of this is “illegal,” really, and not good. 

If people say indies must compete with the studios, but then take away our chance for profit, how can we compete? With such a high risk investment already and a business model that offers your film for free and hopes for donations, as suggested, investors will flee in mass. Investors are hard enough to find in the first place, and almost every one I've spoken with has brought up piracy. So, I'm not concerned about piracy because of being stingy; it’s a concern of being able do business in the right way. My investors trust me and I need to do all I can to see they are protected.  No doubt the landscape is changing, and we have to adjust. But, chalking piracy up to "not that big of a deal" and giving up the ship to the pirates is not the way we should choose.

Now, what can be done? I'm not too sure. I know the studios are the driving force in this effort to combat piracy. I also know that local police departments and federal agencies are not going to do much unless it's so obvious and easy for them to handle. But the bottom line is still that it’s illegal. It may be a more socially acceptable crime, but it is more than civil. I don't think we lock someone up and throw away the key; that would be cruel. But giving them a fine and putting them on probation would be appropriate; and, more importantly, brining down the larger illegal entities that are the real pirates behind piracy. Shutting down the piracy sites. Put pressure on countries politically. It's a global issue with no easy resolution.

Piracy is a big problem, especially the more time goes by without anything being done about it, the more it's going to be acceptable and the more it will hurt us all. I'm in the filmmaking business, not some fashionable hobby. I also believe piracy is criminal and needs to be dealt with. This is not a victimless crime--filmmakers, film investors, and ultimately, film viewers are affected. See an indie film you like; it could be the last film by that indie company because of piracy.

More education on piracy is needed to help those who are innocently participating in it. But, to the ones who are sustaining it, shut them down.

If you enjoy a film, the worse thing you can do is not support it--or ask the filmmakers to put it out for free. I could be the end of the indie filmmaker.

This is just my two cents. What do you think?

  

Looking for some anti-piracy assistance? http://www.muso.com/home/

Copyright: http://www.copyright.gov/circs/circ40.pdf

Report piracy: http://www.ic3.gov/default.aspx  and http://www.iprcenter.gov/

Film Distribution - Times are a Changing

http://entertainment.howstuffworks.com/movie-distribution.htm 

In the film industry, the world of the free internet is causing some challenges for filmmakers. I had someone tell me an option to get our film out there was to post it for
free online and then ask for donations. They shared an example of how one film did this and had over 1 million views and raised $10,000. Now that is a lot of money, unless the film cost you much more than that! How is this success? You spend $100,000 to make a film, but it’s all right to only get a $10,000 return? In any other business, including studio-made films, that would be failure!


As consumers we want what we want, when we want it and how we want it. But, filmmaking is a business first. If filmmakers cannot get a return on their film to go back to their investors, it will be a short-lived career. High-quality films are just too expensive to make and involve the livelihood of too many people to be able to sustain doing them at a loss. If you love a product, the worst thing you can do is get it for free. You should support your favorite film, by supporting it with your purchase of a ticket, DVD or a paid
download. It’s your “vote” of confidence that you’d like to see other films like it or by this filmmaker.

The market is now flooded with free content, and most of it looks free. This muddies the water for people trying to make it as a filmmaker, even an indie one. Indie doesn’t mean free, and we should protect it from that.

I actually had a filmmaker tell me I should be willing to sleep in my car, go to the bathroom in a bag and eat what I can just to get my film out there. I have no issue with hard work and sacrifice—and our team has put in its fair share—but it has to be balanced with sanity. What other industry would encourage that as a true, viable business or career option?

But, things are changing. No longer does the filmmaker have to take a deal where they never see a dime from some unknown “distributor.” We’ve been exploring many options, and here are some of the ones we are considering that actually pass some revenue on to you:

www.ATOM.com
www.BABELGUM.com
www.CREATESPACE.com
www.FILMANNEX.com
www.JOINFILMBABY.com
www.HUNGRYFLIX.com
www.INDIEFLIX.com
www.JAMAN.com
www.NETFLIX.com/SUBMITFILM
www.SNAGFILMS.com

Before you go free, check them out. You owe it to yourself, the people who supported you financially and to the indie film industry.

Let us know what others you are aware of. And, for everyone else, get out there and support indie filmmakers!

Express Your Indie ~

Film Funding: How to use Section 181

I know there's been much talk on Section 181, but I wanted to chime in and give my two cents, as I fear not all of the information may be accurate.

Being a former cop, I know there is the "spirit" of the law vs. the "letter" of the law. I know what we all want Section 181 to be, but alas I'm afraid it has not been interpreted that way by the most important entity - the IRS. I know the legislation was written in such a way as to help investors feel better about investing with film in the US, to offer them an immediate tax break.

However, regardless of how we might interpret this, the important interpretation is how the IRS has defined it. Not an attorney or a CPA, just ask Mr. Wesley Snipes.

This is taken directly from the IRS:
Here is the link that explains the IRS regs that are in place for the statute section 181.
http://www.irs.gov/irb/2007-12_IRB/ar10.html

It is clear that there are a few major items that qualify for the deduction,
  -member of the production company
  -ACTIVE producer in the production
  -invested capital in the production

This allows for the amount of capital investment to be deducted from taxes in the year the expenses occured vs having to wait for income from the production before being able to take the deductions. It all evens out in the end.

It still has a cap of $15 million in total deductions, and has been retroactively extended till the end of 2011.

I do know that they are trying to amend the legislation to reflect the spirit of the law, and I know the IRS is trying to be very liberal; but for now - you better be very careful in how you "advise" others on Section 181.

Out of all of our current investors, myself and the two other owners of our company were the only ones able to take advantage of 181.

This is not official advice, just some thoughts - do with it as you may.

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! :)