Hey – wanted to update you about our film, “The Fellows Hip”. We recently made the front cover of the Alexandria Gazette http://files.connectionnewspapers.com/PDF/current/Alexandria.pdf,
and are on page 10 on the Reston Connection.
Casting is underway and going well. We are seeing a ton of people respond and though it’s a ton of work – it definitely doesn’t feel like it. I mean – we are making a movie people! This is exciting stuff.
We are excited that you are on this journey with us, and know many of you have taken an opportunity to get involved in one way or another. We are setting ourselves up for a great turn-out!
Looking forward to working with so many of you!
The OAP Team
Monday, June 22, 2009
Friday, June 5, 2009
Updating the Buzz
The Fellows Hip: Rise of the Gamers Movie Supporters-We're glad you're on the journey with us!
It's with an excited hand that I type this update. We have a lot to be thankful for and the road ahead of us is a promising one. Buzz is in the air as we have received some local interest with a media source. Though it's in the early stages of what may be done-they are eager and hopeful for our success and desire to assist us with some PR.
We still are in some positive and encouraging talks with a very large online gaming company. Indications are that we are moving forward to form a partnership that would be fantastic for our marketing efforts. We've had some fun and innovative conversations with them about how this would all tie in, and I can ensure you that getting them onboard will be just as valuable as having "Frodo" attached to our film, though we are still in negotiations with some A-list actors to do a cameo.
We are currently completing our crew and are very pleased with their expertise, talent and passion. Everyday more people are joining us to help ensure this film meets its goals and is a success!
The last update would be that we have some overseas interest in the film, which does include a probable financial investment. We have also reached out to many of our contacts in the industry about where they may be able to assist us, as our motto is "people helping people."
We look forward to future updates, with even more positive news, as we press on!
Ron, Scott, and Shane
http://www.openingactproductions.com/
http://www.thefellowshipmovie.com/
It's with an excited hand that I type this update. We have a lot to be thankful for and the road ahead of us is a promising one. Buzz is in the air as we have received some local interest with a media source. Though it's in the early stages of what may be done-they are eager and hopeful for our success and desire to assist us with some PR.
We still are in some positive and encouraging talks with a very large online gaming company. Indications are that we are moving forward to form a partnership that would be fantastic for our marketing efforts. We've had some fun and innovative conversations with them about how this would all tie in, and I can ensure you that getting them onboard will be just as valuable as having "Frodo" attached to our film, though we are still in negotiations with some A-list actors to do a cameo.
We are currently completing our crew and are very pleased with their expertise, talent and passion. Everyday more people are joining us to help ensure this film meets its goals and is a success!
The last update would be that we have some overseas interest in the film, which does include a probable financial investment. We have also reached out to many of our contacts in the industry about where they may be able to assist us, as our motto is "people helping people."
We look forward to future updates, with even more positive news, as we press on!
Ron, Scott, and Shane
http://www.openingactproductions.com/
http://www.thefellowshipmovie.com/
Monday, April 20, 2009
When to Make a Good Film
Like many of you independent film nuts out there, we’re working on raising money to make our film. Some people say this isn’t the time—the economy sucks, investors are jittery and distributors of independent film have contracted. (Though a new independent distributor, Anchor Bay, bucked the trend recently and came on the scene for theatrical distribution. I wish them well.) But maybe that’s the point.
Anytime is a good time for a good film, but maybe now when people need a lift is even better. So far this year, the box office seems to be saying so. As of the end of March, movie revenues were $2.38 billion, up 12 percent from 2008, according to Media By Numbers. Even with higher ticket prices, movie attendance also was up 10.4 percent. Not bad. I’m sure auto dealers and other struggling businesses would welcome that trend right now. Some of us would like to see that for our stock portfolios, that’s for sure.
When times are bad, people won’t—and can’t—buy a new car, but they will welcome a new movie. During the Great Depression (that name was appropriate in so many ways), people would scrape up the 30 cents or so to see a movie. Sitting in the theater may not have helped them pay the mortgage, but it did do them some good. One book describes it like this
“Outside those sacred doors crouched the pale gray wolf of Reality and the Depression. On the skyline the dark, sullen hulk of the steel mills lay silent and smokeless, like some ancient volcano that had burnt itself out, while the natives roamed the empty streets and told wondrous tales of the time when the skies were lit by the fires of the steel crucibles. And there was something that occupied them all, called Work. Even the word “Work” itself had an almost religious, mythological tone.”
That could describe a lot of places today—Michigan or Pittsburgh or Northern Indiana, where this story is set. The quote is from In God We Trust: All Others Pay Cash by Jean Shepherd. It’s the book from which that holiday classic and TBS marathoner, A Christmas Story, is adapted.
If you like the movie, you really should read the book. You will see that the screenplay is a skillful adaptation. There’s probably enough left though that they didn’t use for another movie. Was anyone else sad when Darren McGavin died a few years ago? The casting was pitch perfect.
One thing left out was the great chapter on the Orpheum Theater and its showman-owner Leopold Doppler. You get the impression that, at least in Hohman, Indiana, the movie theater was the heart and soul of the town, a place of wonder and relief, during the Depression. Shepherd writes,
“Mr. Doppler operated the Orpheum Theater, a tiny bastion of dreams and fantasies, a fragile light of human aspiration in the howling darkness of the great American Midwest where I festered and grew as a youth. Even now the word “Orpheum” sends tiny shivers of anticipation and excitement up the ventilation pipes of my soul. And Mr. Doppler, like some mythical God, reigned over his magnetic palace of dreams, fighting the good fight alone and uncheered.”
Of a typical moviegoer he writes,
“He scrabbled and scraped week after week to scratch up the price of a ticket…”
I know times are different (someone pointed that out recently when discussing this subject) and movies have a lot more competition with the Internet, videogames and other stuff, but movies seem to be holding their own. And while they have more options, people haven’t changed that much deep down since the Depression. Movies still have their own type of catharsis that people need. Some call it escape, but I don’t think it is. I’ve walked out of the doors of a theater encouraged to handle a few things, or at least in a better state of mind to face them.
So it may be a bit more difficult, but I think there’s no better time to make a film. The risks are great (Haven’t they always been for independent film?), but so are the rewards for you—and your audience. Now, if we can just get those investors onboard.
Enjoy! Scott
Anytime is a good time for a good film, but maybe now when people need a lift is even better. So far this year, the box office seems to be saying so. As of the end of March, movie revenues were $2.38 billion, up 12 percent from 2008, according to Media By Numbers. Even with higher ticket prices, movie attendance also was up 10.4 percent. Not bad. I’m sure auto dealers and other struggling businesses would welcome that trend right now. Some of us would like to see that for our stock portfolios, that’s for sure.
When times are bad, people won’t—and can’t—buy a new car, but they will welcome a new movie. During the Great Depression (that name was appropriate in so many ways), people would scrape up the 30 cents or so to see a movie. Sitting in the theater may not have helped them pay the mortgage, but it did do them some good. One book describes it like this
“Outside those sacred doors crouched the pale gray wolf of Reality and the Depression. On the skyline the dark, sullen hulk of the steel mills lay silent and smokeless, like some ancient volcano that had burnt itself out, while the natives roamed the empty streets and told wondrous tales of the time when the skies were lit by the fires of the steel crucibles. And there was something that occupied them all, called Work. Even the word “Work” itself had an almost religious, mythological tone.”
That could describe a lot of places today—Michigan or Pittsburgh or Northern Indiana, where this story is set. The quote is from In God We Trust: All Others Pay Cash by Jean Shepherd. It’s the book from which that holiday classic and TBS marathoner, A Christmas Story, is adapted.
If you like the movie, you really should read the book. You will see that the screenplay is a skillful adaptation. There’s probably enough left though that they didn’t use for another movie. Was anyone else sad when Darren McGavin died a few years ago? The casting was pitch perfect.
One thing left out was the great chapter on the Orpheum Theater and its showman-owner Leopold Doppler. You get the impression that, at least in Hohman, Indiana, the movie theater was the heart and soul of the town, a place of wonder and relief, during the Depression. Shepherd writes,
“Mr. Doppler operated the Orpheum Theater, a tiny bastion of dreams and fantasies, a fragile light of human aspiration in the howling darkness of the great American Midwest where I festered and grew as a youth. Even now the word “Orpheum” sends tiny shivers of anticipation and excitement up the ventilation pipes of my soul. And Mr. Doppler, like some mythical God, reigned over his magnetic palace of dreams, fighting the good fight alone and uncheered.”
Of a typical moviegoer he writes,
“He scrabbled and scraped week after week to scratch up the price of a ticket…”
I know times are different (someone pointed that out recently when discussing this subject) and movies have a lot more competition with the Internet, videogames and other stuff, but movies seem to be holding their own. And while they have more options, people haven’t changed that much deep down since the Depression. Movies still have their own type of catharsis that people need. Some call it escape, but I don’t think it is. I’ve walked out of the doors of a theater encouraged to handle a few things, or at least in a better state of mind to face them.
So it may be a bit more difficult, but I think there’s no better time to make a film. The risks are great (Haven’t they always been for independent film?), but so are the rewards for you—and your audience. Now, if we can just get those investors onboard.
Enjoy! Scott
Tuesday, January 20, 2009
Movie making - is asking for help.
We have all heard that it takes a village to raise a child. Well, this is true with many endeavors. For us to live out our God given dreams – it’s going to take more than just relying on ourselves. We were created with a purpose and community in mind. We have a mission, but we can never do this alone. But, why is it SO hard to ask for help?
We don’t want to be a burden, or cause any hardship or work for others. Yet if someone in our close inner circle asked us for help, what wouldn’t we do for them? One of the hurdles in fulfilling our dream is getting over asking for help from others.
I know this all too well as an independent filmmaker. When people hear you’re making a film, they assume you have the magic money tree. But this is not the case. Most filmmakers have no clue where the money is going to come from. It isn’t going to take just a few people writing a check. It’s going to take a large amount writing checks for all different kinds of amounts. This is a big hurdle because it is not only asking for help – but asking for money.
This is slightly different; it is not a loan and the potential for a return of their trust in the filmmaker – can return…well “Blair Witch” cost roughly $35,000 to make and made well over $248,000,000, not a bad return for three investors.
People however invest in people – not projects. Setting a business model and strong Return on Investment plan is part of the process, but the bottom line is going to be asking several who believe in the filmmaker and the work they are doing to invest in the dream that is to be built.
A film is not a solo sport. We all know that the end credits take several minutes to fly by filled with the names of the people who helped in the film. So a filmmaker must not only ask for funds but also for other resources to complete the film. There is an army of people that help in the film making process. Just like in most dreams – it’s going to take that army to fulfill it.
Imagine if no one ever asked…what would get done? Well, I’m not about to find out! :)
We don’t want to be a burden, or cause any hardship or work for others. Yet if someone in our close inner circle asked us for help, what wouldn’t we do for them? One of the hurdles in fulfilling our dream is getting over asking for help from others.
I know this all too well as an independent filmmaker. When people hear you’re making a film, they assume you have the magic money tree. But this is not the case. Most filmmakers have no clue where the money is going to come from. It isn’t going to take just a few people writing a check. It’s going to take a large amount writing checks for all different kinds of amounts. This is a big hurdle because it is not only asking for help – but asking for money.
This is slightly different; it is not a loan and the potential for a return of their trust in the filmmaker – can return…well “Blair Witch” cost roughly $35,000 to make and made well over $248,000,000, not a bad return for three investors.
People however invest in people – not projects. Setting a business model and strong Return on Investment plan is part of the process, but the bottom line is going to be asking several who believe in the filmmaker and the work they are doing to invest in the dream that is to be built.
A film is not a solo sport. We all know that the end credits take several minutes to fly by filled with the names of the people who helped in the film. So a filmmaker must not only ask for funds but also for other resources to complete the film. There is an army of people that help in the film making process. Just like in most dreams – it’s going to take that army to fulfill it.
Imagine if no one ever asked…what would get done? Well, I’m not about to find out! :)
Monday, December 8, 2008
Actors: A word from a director: Be unique!
In the indie market we are competing with big budgets and big stars; so the only way to do this, is we must have a great script with compelling characters; unique characters. The unique part – the one with depth, the one that has to have that certain look, appeal, charisma – now that’s the one I’m more concerned with casting. That is the one I will spend more time on.
Point #1 is to know what role you are putting in for and what role you should be putting in for. Sean Pratt, a DC area actor/coach (www.seanprattpresents.com), calls this your “essence”. This is knowing who you naturally are. Knowing you will always be cast as the biker gang member and never the cop is good to know. It doesn’t narrow you, it streamlines you. I’m doing that in my head anyway, perhaps you should help me come to the right conclusion.
I was told – never take auditions personally. Well guess what? They were right. If I, as the director, receive a headshot – I don’t immediately flip to the resume that I’m sure is on the back – I look at the photo. Point #2, have a professional looking headshot. This is not necessarily the one you pay for the most. A headshot should just be an honest picture of what you look like right now. So, if you are a teenager and have a growth spurt, or you change your hairstyle; do me a favor and update your headshot. I also like seeing other shots if you have them. I know this is not the norm, but again when I’m looking for that unique part – I need to see you differently perhaps. With headshots I make up my mind in about a split second on whether or not this person could be my “Squirrelly”; my unique character. Do they have the right look?
As most know, auditions are generally very quick, why? It is because the ability to act is in fact assumed. I am not certain what skill level you are at, but I am assuming you can act. The audition is to confirm your acting ability and to see what unique things you might bring to the table with the character. Are you naturally my Squirrelly? This brings me to point #3, know your ability. If acting is assumed and you just don’t have the gifting to be an actor – then the sooner you find this out the better.
Point #4, be unique! Joaquin Phoenix has a great career even though he has a big scar on his face that he doesn’t hide. It gives his characters more depth and uniqueness about him. He is a leading man, but he is also unique. When young Daniel Radcliff walked into the audition for Harry Potter – they knew right then and there that he was Harry Potter. No audition had even taken place – he had the right look, the essence.
What you may see as a weakness can be turned into uniqueness if putting in for the right role! So your weight, your height, the fact you look young or you can play “the nerd” – great! Use this to allow the director to come to the right conclusion; that you are unique and are the person the director is looking for.
I hope this helps and I am looking forward to seeing you submit for our film, “The Fellowship” in 2009!
Point #1 is to know what role you are putting in for and what role you should be putting in for. Sean Pratt, a DC area actor/coach (www.seanprattpresents.com), calls this your “essence”. This is knowing who you naturally are. Knowing you will always be cast as the biker gang member and never the cop is good to know. It doesn’t narrow you, it streamlines you. I’m doing that in my head anyway, perhaps you should help me come to the right conclusion.
I was told – never take auditions personally. Well guess what? They were right. If I, as the director, receive a headshot – I don’t immediately flip to the resume that I’m sure is on the back – I look at the photo. Point #2, have a professional looking headshot. This is not necessarily the one you pay for the most. A headshot should just be an honest picture of what you look like right now. So, if you are a teenager and have a growth spurt, or you change your hairstyle; do me a favor and update your headshot. I also like seeing other shots if you have them. I know this is not the norm, but again when I’m looking for that unique part – I need to see you differently perhaps. With headshots I make up my mind in about a split second on whether or not this person could be my “Squirrelly”; my unique character. Do they have the right look?
As most know, auditions are generally very quick, why? It is because the ability to act is in fact assumed. I am not certain what skill level you are at, but I am assuming you can act. The audition is to confirm your acting ability and to see what unique things you might bring to the table with the character. Are you naturally my Squirrelly? This brings me to point #3, know your ability. If acting is assumed and you just don’t have the gifting to be an actor – then the sooner you find this out the better.
Point #4, be unique! Joaquin Phoenix has a great career even though he has a big scar on his face that he doesn’t hide. It gives his characters more depth and uniqueness about him. He is a leading man, but he is also unique. When young Daniel Radcliff walked into the audition for Harry Potter – they knew right then and there that he was Harry Potter. No audition had even taken place – he had the right look, the essence.
What you may see as a weakness can be turned into uniqueness if putting in for the right role! So your weight, your height, the fact you look young or you can play “the nerd” – great! Use this to allow the director to come to the right conclusion; that you are unique and are the person the director is looking for.
I hope this helps and I am looking forward to seeing you submit for our film, “The Fellowship” in 2009!
Monday, November 24, 2008
What is the life-cycle of a film?
Something new that has begun listing movies as “in the future” status. No one has signed any deals, but there are plans the movie is going forward and will be made. The script is not complete, but the idea for the story has begun. This is not used in mainstream Hollywood, but is more of an Independent Film term, as seeking funding begins from the moment the idea was first conceived.
The next step is called being “in development”. The script is to be complete, and now a producer has signed on to go out and find the funds to make the film. Within a studio system, this is pretty easy as the funds are from within; but to an indie-filmmaker, “in development” is where many movies have died on the vine – never to have been made. The story is then flushed out and the script is finalized. A film distributor is usually sought after to ensure when a finish movie is delivered there is a plan for it to get to the audiences. Early on, there is an attempt to appeal to known talent, or A-List actors. This could also be known directors as well; it’s anything that can be attached to the film to give it more credibility for success. Once all agreements have come to terms and contracts are signed, the project is then “green lit” and the movie is slated to be made.
In “pre-production” the planning of the film is strategized over. Storyboards or visual images are drawn to give a sense of what each shot will look like, what resources might be needed for the shot as well. Each scene is looked at and accounted for similar to a project plan; this is also when a budget is attached to the film. Positions are decided upon as the need of the film is flushed out. Filling those positions also takes place. The team will be roughly 90% complete to this point.
“Production” is when the movie is filmed. Even the term “filmed” these days does not always mean put onto actual film. Most indie films are now shot onto a digital format and made to look like film later. Some large films, such as the new “Star Wars I, II, & III” were also all shot onto a high quality digital format by George Lucas. Films take from as short as a month to film to as long as years, such was the case in the trilogy “Lord of the Rings”. Each day, the director and his primary crew/managers (or “above the line” crew) will review what was filmed for that day known as “the dailies”. Once the filming is complete or “in the can”, they then move into the next phase.
“Post-production” is when all of the magic of filmmaking happens. The movie is put into a story order. The sound is tweaked, along with the look and feel of the film by a colorist. Special effects are added, as well as scoring the film or enhancing the film with music. Where would films be without the powerful partnership with music; think of “Jaws” without the eerie music. The editor creates a rough cut and works until they have a final or “locked” cut, where nothing else should be added to the film.
“Distribution” is the final process. This is how the movie gets seen by you, the audience. The preferred method is a theatrical release, but in the age we live in now; this could also mean straight to DVD, computer streamlined, or put out on television or a paid channel. A distribution channel is decided and the movie is released for mainstream audiences to view. An agreement is made for international release and the movie is put out to the world. The profits that are generated go back to the primary investor; either the studio, or individual production company. No truer than making a film, “you have to have money to make money”.
The next step is called being “in development”. The script is to be complete, and now a producer has signed on to go out and find the funds to make the film. Within a studio system, this is pretty easy as the funds are from within; but to an indie-filmmaker, “in development” is where many movies have died on the vine – never to have been made. The story is then flushed out and the script is finalized. A film distributor is usually sought after to ensure when a finish movie is delivered there is a plan for it to get to the audiences. Early on, there is an attempt to appeal to known talent, or A-List actors. This could also be known directors as well; it’s anything that can be attached to the film to give it more credibility for success. Once all agreements have come to terms and contracts are signed, the project is then “green lit” and the movie is slated to be made.
In “pre-production” the planning of the film is strategized over. Storyboards or visual images are drawn to give a sense of what each shot will look like, what resources might be needed for the shot as well. Each scene is looked at and accounted for similar to a project plan; this is also when a budget is attached to the film. Positions are decided upon as the need of the film is flushed out. Filling those positions also takes place. The team will be roughly 90% complete to this point.
“Production” is when the movie is filmed. Even the term “filmed” these days does not always mean put onto actual film. Most indie films are now shot onto a digital format and made to look like film later. Some large films, such as the new “Star Wars I, II, & III” were also all shot onto a high quality digital format by George Lucas. Films take from as short as a month to film to as long as years, such was the case in the trilogy “Lord of the Rings”. Each day, the director and his primary crew/managers (or “above the line” crew) will review what was filmed for that day known as “the dailies”. Once the filming is complete or “in the can”, they then move into the next phase.
“Post-production” is when all of the magic of filmmaking happens. The movie is put into a story order. The sound is tweaked, along with the look and feel of the film by a colorist. Special effects are added, as well as scoring the film or enhancing the film with music. Where would films be without the powerful partnership with music; think of “Jaws” without the eerie music. The editor creates a rough cut and works until they have a final or “locked” cut, where nothing else should be added to the film.
“Distribution” is the final process. This is how the movie gets seen by you, the audience. The preferred method is a theatrical release, but in the age we live in now; this could also mean straight to DVD, computer streamlined, or put out on television or a paid channel. A distribution channel is decided and the movie is released for mainstream audiences to view. An agreement is made for international release and the movie is put out to the world. The profits that are generated go back to the primary investor; either the studio, or individual production company. No truer than making a film, “you have to have money to make money”.
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! :)
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! :)
Subscribe to:
Posts (Atom)
