Producing : Ask Me Anything (AMA) Wednesday 2/28 to Thursday 2/29- Being A Producer & Director On Your Own Indie Projects by Shane Stanley

Hope you're doing great, Shane Stanley. Thanks for having this AMA. What's something that someone should know before producing their first indie film? And what's something that someone should know before directing their first indie?

Thank you so much, Shane Stanley, for doing this amazing AMA! One of the questions I have is when directing your own indie project, how do you balance the roles of writer and director? What are the things you have to consider and best practices to implement?

Hi Shane Stanley - Thanks a ton for doing this AMA and spending some time with us. Question(s) 1. What’s your general process for obtaining funding for your projects? 2. What genres of stories work best for indie projects? Thanks in advance!

Oh, I am super pumped to get these great questions! Keep 'em coming, we're gonna have a friggin' blast, Stage 32!

Shane Stanley What are the hallmarks of a great indie project? And what are the common mistakes new directors make when producing their own indie film?

Hi Shane Stanley. thank you for this opportunity. I'm at the founding stage for my first horror feature film as a director/producer. Thus, here are my questions: 1-What strategic steps would you recommend for aspiring producers and directors to navigate the independent movie landscape effectively and ensure their creative vision is realized on screen? 2- What key strategies or approaches have you found most effective in securing funding and resources for independent film projects? 3- Given your experience, what insights can you share about balancing creative integrity with practical considerations like budget constraints and market demands, especially when striving to bring independent films to fruition on your own terms?

Looking forward! Thanks Shane!

Hello Shane. I spent years developing a dark comedy feature project. The screenplay won awards in competitions, and I spent a massive amount of time working on promotional materials such as a pitch deck, 3d storyboards, a vfx demo, a theme song, and a mockup motion storyboard music video. The thing that held me up, when approaching potential investors, was having a reliable business model. Try as hard as I might, I couldn't find reliable information on distribution. It's like the industry puts up a wall, so filmmakers have to finish their film before considering distribution, rather than building a distribution plan it into their development and funding plan. How do you go about creating your distribution plan, and do you have that in place before principal photography?

Chris Donald Griffin ,

Sorry to hear about this problem. Granted, talking with my SCORE advisor, his first words were to write up a basic business model - or even idea of my business.

I watched one of their business liability webinars today which was really good.

Most of what we do here with Film and Music is IP related, so basic business liability is needed.

Unless, you’re planning an actual film to distribute.

Fire damage, water damage, etc.

Maurice Vaughan Hey Maurice, thanks for the kind words and great question(s). First and foremost, when producing, the best advice I can give is that right out of the gate, you have to over prepare. Take the time you need to make sure nothing is overlooked, left out or assumed "to be handled later." I've been producing for over 30 yrs. and to this day, I want a minimum of 3 months in pre-prod. to go over the laundry list of things that need to be handled and make sure everything is in order way ahead of time. I often compare making a film to taking a trip to the moon. It's an amazing experience not many people get to have, so when you think about the prep that goes into space travel; equate it to making your film and make that preparation a habit moving forward. Leave no stone unturned and be ready for everything from a cast or crew member falling out last minute, a location getting canceled or shut down the day before you shoot it, and equipment failing when you need it most. Have your contingencies in place, so when the gun goes off (aka the start) you are ready for ANYTHING. The longest chapter in my book, "What You Don't Learn in Film School" is all about pre-production and how to get you and the team ready so the wheels don't come off the wagon during the race - and when something does go wrong, (and it most-certainly will) it's a small bump in the road, and not a catastrophe. The tiniest things can derail a film once it's in production but the better prepared you all are, the less it can ruin a great shoot. Remember to schedule accordingly. Don't make it a tiresome grind filled with a ton of company moves - especially those first couple of days of shooting. It's important you and the cast/crew get into a rhythm and a flow before the tough stuff starts. A lot of people like to get the tough stuff out of the way first, but if you and the crew (and cast) don't have a history of working together or know each other's flow, it can really backfire. Build up to that stuff. Also remember, often you'll work in tighter budgets early on, so remember respect for others is EVERYTHING. If you're underpaying your crew, feed 'em extra well and be extra kind. If you're overpaying your crew, feed 'em very well and be extra kind. There is no need for tension and rudeness on a set, you'll have enough added stress when you start the film, so appreciate your support system and don't put people in a bad place emotionally/mentally. It's completely unnecessary and totally avoidable. Always remember; you set the tone!

For directing your first indie, my advice is similar from the creative end BUT what's most important is you don't put unnecessary pressure on yourself. Remember, your career is a journey, not a destination and it's a marathon, not a sprint. I strongly suggest that if you're going to direct, know your craft - Editing. Shooting. Lens selection. Story. Basic blocking... The list goes on. It's common for new directors to over-prepare for the wrong things. Also, if you're going to produce, remember this. What are you spinning your wheels in? Are you so worried about your shot list, you overlook the arch or beats the characters (actors) and you need to be in sync with? Are you so focused on "specialty shots" and your potential reel that you aren't looking at the big picture? You'd be surprised how much time is spent on the little details without considering the grand scheme and it can be paralyzing when it comes time to make the film and it will be very clear you did this when you're editing your film.

I am really a fan of surrounding yourself with people that know more than you do. If it works for Speilberg, it WILL work for you! Too often we get so wrapped up in our own heads (ego) and we want to be the boss or the know-it-all on set when we get into the director's chair and that can be the kiss of death. Your team will respect the chain of command/hierarchy if they are savvy and what's important is you bring some key folks on who can really support your mission and be (pardon the cheesy cliche) the wind beneath your wings. We don't know everything and believe it or not, no matter who you are, ya didn't know the basics at one point. Have transparent conversations with your DP, your producing partner(s) and let them know your weakness, your fears, your doubts so they can be better prepared to help make sure things go smoothly. Too many of us are afraid to say "I don't know" or seem like we're not experts. Just relax and remember this is a TEAM EFFORT and you need all the support you can get. Patrick Maholmes proved to us in the recent Superbowl for the first 3 quarters, he was mortal, and it was the team and coaches that kept that game within reach to ultimately win and be crowned champions. It's no different in filmmaking.

Most of all be kind and courteous to the team, I cannot emphasize it enough. As my dear friend and colleague @CJWalley often quips; "There are directors a cast and crew will walk across the desert for, and others they wouldn't cross the street for." Which one you become will have so much to do with how you treat your team, and with kindness comes unbelievable support. Additionally, I find too many first timers are making their film with the wrong intentions or viewpoint; it's gonna get into Sundance? I'm gonna make the next sleeper hit? This is gonna knock Ho-Ho Wood on its a** and make the toast of the town, etc. Just take a deep breath, enjoy the moment, and fall forward! I promise you'll make a lot of mistakes, (I've been doing it for decades and make mistakes all the time) but what is key is to learn from those mistakes and you don't make the same mistake twice. Don't overthink the things that are out of your control. Stay calm and remember; you've got this!

Raven Riley (PT 1 First Question)

Such a GREAT question! A lot of my thoughts here would be seen in my answers to Maurice Vaughan but there's a lot more to cover. When wearing both hats, you must also think (compartmentalize) what kind of producer you will be on the project. Are you involved mainly with the cast, money, distribution, and the basic foundational elements to see if the film is greenlit or will you be more involved in the day-to-day of running the production? Hey, no job is too big or too small for a producer whether you are getting stars attached, locking in crew, or making sure the bagels are fresh on the craft service table. I've always complained that no matter how wonderful my producing partners and support team is, I never really get to direct a film. I am a producer first, so don't be like me and spread yourself out too thin and learn to "let go, let god" as they say and rely on your team. I think if going in, everyone knows who is doing what, and if any help is needed, who will be responsible is a must. Again, surround yourself with a great support team (partners) who are 1) capable and effective 2) production savvy 3) can improvise needs before they're emergencies 4) and so important; resourceful. If you can cover those basics with your team, you will be light years ahead of so many. Too often we pile up our pals to cut costs and "all rise up together" which is great, but someone has to have a strong production history and know how to run a show. Now, since your question also included the job of writer; you should then know the material better than anyone, so when questions arise about logistics, story and its arcs, etc. no one should be more versed than you. As a director, (and producer) when scouting locations, always be thinking if you can get more than one location out of a space. This cuts down on company moves, makes the schedule easier, less pressure and can save money. I love when we go scout, and we can easily get 3 locations from 1. It's totally do-able and if you are also the writer, you started this whole universe, so you have the earliest of seeds planted in your little mind so you should be most helpful in figuring this all out.

Table reads with your cast is a must! Get the improvements, trim the fat and fix the potholes super early because you don't want to be having these story discussions ON THE DAY, that can sink a ship and get you way behind schedule more than you know, so get all of the story work and script fixes done way ahead of time. The time on set filming should be fun, lighthearted and a creatively safe place. When you go in with all of these things handled, it can happen organically. Have your shot lists ready, be in sync with your DP and camera team, also, do those tech scouts. You should be walking the locations way before you are shooting whenever possible. When you have houses, offices and intricate locations that require a lot of thought, you don't want to waste valuable time on the shoot days getting people to figure out where things go, how you're going to light a place or worse, did we bring a generator because our lights keep blowing fuses. Not having these ducks in a row will kill your creativity and your day - and are so avoidable. Don't forget the basics and remember to have fun! Fun is contagious and sets a great work atmosphere.

Raven Riley (PT 2 Second Question)

Interesting question, Raven. Remember, art is nothing but opinion. What touches or resonates with some, may be a total miss with others. I had the privilege to see a private screening of "Napoleon Dynamite" before it was released (and pre-Sundance) with a member of the cast and their family/friends. No one, and I mean NO ONE laughed, no one got it, it was oddly uncomfortable when the film was done, and people couldn't leave quickly enough. Well, we all know how that film did. It's a classic! What went wrong in THAT screening? What went right when it was in theatres, won Sundance and was a hit? Was it funny now because other people said it was or was it watched in a different time warp with non-humans? You get my point... movies are made because people like you and me or studios believe in them (usually) and because they have done all the testing/focus groups and they're greenlit based off of that kinda stuff. Well, we all know over 80% of the big tent poles failed, so what gives? We don't have crystal balls that can tell us how a film will do, and if it were easy, everyone would thrive! I cannot emphasize it enough; make what your heart tells you to make and do what you thrive in - especially early on. You need that film under your belt to use as a steppingstone or launching pad for a strong career. Remember, every job or film you do is potentially the audition for your next, so choose wisely building on your strengths, always try to hit the human heart and make 'em laugh and cry once in a while (emotional checkpoints). But I don't think there is a right or wrong here. Just think Globally because there's nothing worse than having a great film (or a well-made one) that cannot find a home because it just doesn't land or resonate with the masses. Sadly, some of the films I am most proud of, never got the traction or audience it deserved because the subject matter didn't touch the masses. Try to avoid that because when it comes to getting work as a filmmaker as the years go on, the films you make that are great, but lost a bunch of money won't help as much as the good ones you do that made money. Hopefully, YOU will find the balance of telling the stories you want to tell, in a way that can appeal to the masses - or enough people for you to make your mark and encourage or inspire other entities to reach out and call you for your next project. It's an interesting dance with no real sure formula(s). But when I teach students, I try to remind them of 5 things they need to remember to include in their INDY/Student Film: (not including a good script/engaging story, etc.) and in no particular order:1) Good Camera2) Good Sound3) Good Actors4) Good Locations5) Good EditorMake sure you include these things and think of them as you're ramping up - and right out of the gate, your film will be ahead of the class. You'd be amazed how many indies are made without these basics and they look and sound awful. 4/5 of them aren't good enough. I've seen great scripted indies with Oscar winners and super DP's and locations but lousy editing. Why? Usually because the filmmakers put more money into a wrap party than they should and skimp where it can matter most. PUT YOUR MONEY ON THE SCREEN.

For your second question here in PT 2, I think the biggest mistakes new directors make is what I said earlier for Maurice - as his question was similar. They don't know the craft enough! Learn editing, learn camera, learn basic blocking, etc. The craft of being a true leader - through good and bad is 90% of the job. It's not about trying to be the next Quinten or Gretta. (I cannot tell ya how many new directors, that's ALL they care about). Forget Sundance, forget having that 100M hit as your first. Sure, it can happen, (Hollywood makes sure an unknown gets plucked from total obscurity every couple years to keep the young blood coming) but the reality is, you need to take a breath, not worry about what the outcome will be, just be in the moment and enjoy it. It WILL show on screen. I visit counteless sets, and as an instructor, many are with student or first-time directors and you can always see, 90% of em, they think they've won Sundance already and they're too cool for school. It never fails, you usually never see the end product because it's unwatchable or so bad the ego won't let it out of the barn because of how they behaved vs. what it looks like. Very rarely do we get a Troy Duffy (see the documentary Overnight if you don't know who that is) but the product rarely comes close to the ego. I found the most pleasant sets/working environment made for better films... and there was a sense of that in the end product. There are 1,000,000 things to prepare for - it's the things you cannot prepare for, Raven that you will have to master on the fly, without any prep in a totally improvised way that will matter more than you'll ever realize. Surround yourself with people that know more than you. Get a great DP. I don't care what your budget is, you can find one. A great DP is not someone who owns 2 DSLRs and has a Lowell light kit stuffed in the back of their Prius. Work with Actors who know their craft. If you don't have the juice, budget, or reputation to get names, call boutique agencies and acting classes that are legit and find them. The names will eventually come as your reputation builds but if you surround yourself with mediocrity and amatures your end product will show that more than anything else. Sorry, I tend to ramble with questions/answers like these because the advice is endless. Just remember, there are roughly 30,000 films a year being made, probably more if you count film schools, etc. What is going to make YOURS great? Hopefully the experience, lifelong relationships, and opportunity and such that you gain from it. Life is a long time... I've been doing this for way longer than a lot of you and looking back... it's not the box office or chart success that I take with me from the work, it's the relationships and experiences that money cannot buy which are what afford me and allow me to make more movies. So don't overthink all the stuff you think are suffocating and what you've stockpiled over the years. Go back to the basics, trust your gut, and be good to those around ya. Do that and you cannot fail.

@LeonardoRamirez

Thanks for your question(s) kind sir, and I get this first one asked a lot. Sadly, people usually don't like the answer because we all want things NOW, but in risk of making you and everyone else angry, here it goes: TIME. Yup, I have found the biggest part of getting investors for your film(s) is investing TIME in yourself, the process and most of all, the relationships. I've been raising private equity for over 30 yrs., and apart from one or two fly by night opportunities that have come up, every finance relationship came from decades of nurturing relationships, and ALL came from people who said, "Don't ever ask me to finance a movie, cause it ain't gonna happen." Sure there are exceptions to every rule and you can bump into easy money (hence my comment about the fly by nighters) but you have to remember, people with money are told by their wranglers; "don't invest in film, music, night clubs, or clothing companies" so you have to earn trust and show people you are a sound investment. I do dive deeply into securing private equity in my book, "What You Don't Learn in Film School" - maybe over a third of it is about just that. The do's and don'ts of raising private capital and I will tell you my approach is different from a lot of what you'll read and hear but it DOES work. But it's mostly about trust, and that comes with time and nurturing relationships and showing people you're the real deal as a human being, not just asking people to fund your projects. People invest in you because they like you. If they like you, they'll want to be a part of what it is you want to do. Start small, show 'em what you've got and make them think, "Imagine if I gave this filmmaker real money to do what they want to do , how much bigger and better this can become." My first self-funded project was done for $500. That got me $10,000 and that $10,000 film was seen by Sumner Redstone, who thought I spent about 1M. He picked up the phone, called Brad Grey and said, get this kid in here and let's get him to meet the team. That $500 investment was a life changer for me, man. It's showing people your stuff and being a kind and welcoming soul, so people WANT to help ya. It's not rocket surgery.

Okay, your second question (which is a great one) is funny, because if you make a drama your sales team will say, "You know, action and horror are where it's at! Get me action or horror and you'll make a fortune." You give 'em an action film, (sorry, I don't do horror) and they say, "Get me a thriller or another drama... that's what the world wants!" Are you seeing the point here? It doesn't matter - because it'll never be right in someone else's eyes and hindsight is always 20/20. Several years ago, everyone was chasing "Moonlight" - get me the next sexually coming of age drama and if it's focused around minorities, great! I had more execs at studios I knew asking for similar scripts or genres to Moonlight because, well, LA-LA Land didn't win Best Picture, LOL. Then "Parasite" became all the rage for a week and a half. "Same execs would ask, "What do ya got like Parasite?" It's a copycat industry and folks like you and me (the real indierats) ain't cranking out product fast enough to feed the machine the latest trends they're chasing. What you hope to be is a steady earner and someone the industry can rely on for years to come because you stay the course. Yes, you can move around the genres or niche's but you're consistent.

Remember; we have a world with over 50 territories that buy movies. What does the world want? Well, in many parts of Asia (a huge market) horror and supernatural won't fly (especially at the indie level) and in some other parts of the world, action doesn't thrive nor does slapstick comedy. I don't think there is one formula for the world... but production value - beauty, excitement and getting the blood flowing does. I've had success in the drama genre, and success in the action/thriller genre. Just make what feels right to YOU but do your homework, get a bead on the vibe as far as what works and where (and why not) but do what you thrive in. One other rule of thumb to remember is, how does slapstick comedy work abroad? Comedy often has trouble with translation, so it can be sticky. Physical comedy can work, but jokes and such may struggle in different languages. I think too many young/new filmmakers think about what they want to release here in the states as the be-all and end-all and don't think globally, so unless you make a "Napoleon Dynamite", "Whiplash" or a "Slingblade," which had remarkable success in N. America, think GLOBALLY! When we make a film, we don't think much about domestic, we primarily think globally and the film's worldwide potential. 70% + of an independent film's money can easily come from foreign sales/licensing and last time I looked, your groceries (aka Investors) don't care where the money comes from, but it does need to come.

Rita Lamotte Hi, Rita and thank you for your question. First off, congrats. This is an exciting time for you. To see your vision is met on screen, often comes with creative control. Creative control comes with a track record of success... either chart or "likes" success now a days or financial success. If you don't have that in your arsenal, surround yourself with people of like-minded vision, who capture the look and feel you're going for and share your passion(s) to tell the story in a certain way. You can usually tell early on that someone in the camp (aka a team member) has their own way they want to see YOUR movie seen or told and when those red flags surface, address it ASAP, or cut the limb off now! Trust your gut more than anything and hold on to your integrity/artistic vision. Zalman King used to say in his early days, he would have 2 sets of shot lists and two sets of answers for all the questions they'll ask depending on the meeting... 1 for the brass (bosses, powers that be) and the one's he was gonna actually use and do. I learned that dance quickly too. If you're wrong and it all fails, you probably weren't ready anyway... but if it’s successful, and you've done it your way, the brass will take all the credit and make sure you work again. It's all a dance and how you learn to Tango and Waltz will set the course for your career. When you hire keys and dept. heads, (DP, Costume Design, or Prod. Design) make sure the team is 100% on board with YOUR vision. If you all are on the SAME page early on in the selection of these key hires, there are NO surprises (at least bad ones). I equate these decisions much like a frog in the water pot which if you introduce the heat right, never knows it's come to a boil. If the team and other decision makers are on-board with the discussions of look and feel early on, it is a much smoother transition onto storyboard and on to set... there are no bad surprises, I hope that all made sense.

I did go into a lot of my tips on financing for Leonardo's question, so please read that for additional tips. Again, my book takes a VERY deep dive into raising private equity, so without sounding as if I am shamelessly promoting it, that's the best answer I can give you because much of the book centers on just that. But additionally, I find a lot of first timers are hunting down millions of dollars for their first features when they don't even have a short film or a track record of success at the minimal level. Would the NFL draft a player without a college playing resume? (unless it's my Bears who seem to throw darts at the draft board, no). Think of it the same way. In layman's terms, a developer isn't going to work with a builder to build a mall or a skyscraper that hasn't even built an outhouse. This fund-raising journey is a long investment of your time and your life. Anyone telling you otherwise is fulla malarkey (keeping it G-rated). So, assuming you have done some project on your own, I suggest making a film you can get done for a couple hundred grand. I know everyone hates hearing that, but I know so many filmmakers with their pitch decks seeking 5, 10, 20+ million for their first and its absolute lunacy. Read some of the threads above please showing you the steps I took - the $500 film got it going then there was a $10,000 film, a $175,000 then more and more and more... You'll find your sweet spot eventually, but why is someone putting a lot of money into someone who doesn't have a track record (and forgive me, you may be a 5x Oscar winner, I don't know your resume) but these are most-often the hurdles and roadblocks that hit new filmmakers and why they cannot get to YES.

Okay, for part 3, great question... There are always a few things to consider when making films on a dime (and sometimes this happens when budgets are massive)... you have to juggle 1) time, 2) budget 3) production value... and you MUST work with someone in a decision-making capacity who understands that and how to maximize them all. A Seasoned producer or line producer is so important, because what may look right on paper, it’s the experienced ones who will sit you down and tell you where you're grossly going to miss. And when you miss, you're constantly chasing the schedule, the money or your tail and the ship sinks further and further where it all goes down. So have someone on YOUR side who shares your passion/creative vision who knows production and hopefully have enough juice to help your vision get the support it needs in the budget and scheduling discussions. In time you will find this on your own, but you have SO MUCH on your plate as a newer filmmaker, you cannot do it all on your own. A great line producer can really help, and you can get these wonderful people for a lot less than you probably realize. I sometimes will call them in, even with my experience just for the second opinions, peace of mind for a short stint in pre-prod to just stretch or challenge my thinking before going into battle (on set) to make sure I haven't overlooked a single thing or short cut myself. A lot of producer/directors (newer ones especially) can cut their noses off to spite their face. Get someone in the early phases of prep to help you if you're navigating uncharted waters. Think of them as a consultant or a tactician during prep to get you ready for this incredible journey... and if you can keep them on, even better, but sometimes just having them early for that prep/budget/schedule is enough.

Chris Donald Griffin: Great question, Chris and thank you for reaching out. Man, I am sorry you’ve hit that wall and sadly, you’re not alone. I get this question asked more times than I should, but rest assured, it’s NOT your fault my good man. Again, without the shameless plug, in my book, “What You Don’t Learn in Film School” chapter 10 really hits on this topic (mystery) of distribution for us ‘lil guys, but in respect of time and getting to the point, here are some things to consider AND remember… Distribution plans and projections are 99.7% bullsh*t unless a major is re-branding their 37th Marvel film, ya just don’t know and it’s all hypothetical. Would I have ever imagined I’d have a film get over 60M views in a three-month period on Amazon? No… Did I put that in my business plan? Hell no. Did the film make a ton of money after living in the top 10 for almost 2 months on the platform? Well, with Amazon paying out only 1 Penny per hour (that’s not a typo) for content, (unless you’re on Amazon Freevee) I couldn’t have or wouldn’t know how to project it! I also couldn’t project that my sales agent would need someone else to get the film on the platform (which any monkey can do), so out of laziness or lack of basic knowledge of getting the film uploaded, they had their 20% distribution fee AND the genius who actually got the film on Amazon (filling out forms and pushing UPLOAD) got 20% too. Ya live and ya learn, but my point is, regardless of how we prepared for the film’s streaming success or failure, who woulda ever concocted that scenario? When you plant small potatoes, expect small potatoes. I am at a disadvantage here because I know nothing about your project. That’s okay, but I would go into different films differently based on its genre, style or potential global marketability. I did talk a little about global appeal in an earlier answer up above, so comb through some of that and see what could trigger your thoughts to help solve this puzzle potentially for you.

So, if you’re looking to get a streaming deal on an Indie film you’re doing, don’t have delusions of granger. Expect to get little to no M/G (minimum guarantee) from the streamers that are placing your product on the site (Amazon, Tubi, etc). What you want to do is find a reputable sales agent/distributor all-in-one who can handle both ends of the deal, not need an aggregate or some middleman to do the leg work and charge you more than you should pay or worse, keep the M/G you’re never told about. Yeah, that happens too. Once you find someone who has a good reputation/track record – which you will only get the truth from other filmmakers they have worked with – present your product to them and tell them you’re interested in partnering with them for distribution and sales, but they have to put some things together for you as well. Ask them for a plan based on your product, and realistic cast for your budget (don’t accept returns on a film with Matt Damon when you have a Kristoffer Polaha budget). Once they do that, also ask them for what’s called an “ask and take” sheet. Now, all of them are BS and totally inflated as well… they’ll have 50+ territories on this sheet (usually in an XLS spreadsheet format) and on the far left with name the territory (say Germany) is listed, then under the ASK column is $1,500,000 or more and the TAKE will be $500,000. If they get $100,000 for that territory in today’s market as an M/G, I’ll eat the lenses you shot the film with – trust me, they won’t. I tell you all of this as it is nothing, but a smoke and mirrors show. All BS in hopes to get filmmakers with investors to sign on and give them product to add to their portfolios to sell or worse – bulk sell, (a story for another time).

What I would do is find like films you want to produce, genre, niche, similar cast YOU CAN GET and look at how they did. As I mention in my book, when doing a Presentation (sorry, I refuse to use the words “pitch” and “deck”), you are using actual comparables. Think of it like getting comps on a home you are buying or selling. I use comps like “Lovely and Amazing” or “Once” (films made for under 1M and did well) not films made by a studio (similar to Blair Witch or Paranormal Activity). Investors know when they’re getting snowballed and if you give them pumped up inflated “lightning in the bottle” numbers, they smell right through it. They are used to base-hits and doubles. Show them the real tangible numbers and they’ll bite if they’re savvy. They run from the hype and over inflation. Again, those ask and take sheets are never met, so you’ll just really anger and disappoint your investors when they see what they believed they could get and never did. The reason you feel there is a wall keeping you from the answers is because there is a wall shielding you from the truth. So, you have to keep things on the real, underestimate and extend the time frame monies can be recouped by the investors. There are so many hands in the pot now as well as the time these bums contractually have to pay you. The distributor can have 90 days AFTER the end of the quarter they are paid out… as can your Sale Agent who will then pay you. Ya see the pattern (and the problem) here? I am not trying to make it seem all doom and gloom, but it can be if you don’t know what they can pull, so if you have this information (ammunition) it certainly helps you at the bargaining table. A good business model is - I want to make a movie: If we have a limited theatrical run in North America, it can trigger a nice waterfall effect with additional distribution in the home streaming market and other ancillary outlets. The great news is this film can be relicensed over and over again in every territory and can be the gift that keeps on giving! It’s residual income for you and yours until maybe we can make enough films together to have a library and we sell that off for a nice price. Don’t oversell the immediate dollars and windfalls. Sell on the potential long-term returns your investment can bring over the course of time and ya might start having a bit more luck in getting traction with potential investors. Good luck!

These are great answers, Shane Stanley! And trust me, you won't upset anyone by sharing what is true and best for all of us. These in-depth responses show that you care and that is so much appreciated and honored. Trust is something that is foundational, takes time to cultivate and necessary for any joint endeavor, no matter what field we're in. It's part of life. Thanks a ton for taking the time. And by the way, I found your book on Amazon! Here's the link for anyone else who may be interested: https://amzn.to/49sZfHt

Thank you Leonard - you’re in the will! I wrote that book because the questions from new and seasoned filmmakers going into the gritty world of a indie film were consistent and I had experienced them first hand. I think there’s some valuable how to’s in there but it’s the invaluable how to not’s that really matter which I documented as well. Appreciate you, buddy.

Hey All - here is Shane Stanley's website: "What You Don't Learn in Film School". Check it out here: https://whatyoudontlearninfilmschool.com/

Anytime, Shane Stanley !

Thank you for volunteering your time Shane Stanley to answer these questions and so in depth too. My question is: what is the difference between a producer and an executive producer? Why does an actor get a producer credit? Does that mean they have been on the show for so long they get creative control over their character? I have always wondered.

You're welcome, Shane Stanley. Wow, phenomenal answer! Incredible tips, especially "You have to over prepare [for the right things]" and "most of all be kind and courteous to the team." Thanks!

Shout-out to CJ! Script Revolution helped me contact with other writers and industry pros, and his advice and book ("Turn & Burn: The Scriptwriter's Guide to Writing Better Screenplays Faster") helped me get better at screenwriting.

Suzanne Bronson you are most welcome and great question. I think you have to break those up as the definition is different on TV and in Film. So here's a popular reply to help generalize for you which I will add underneath: The producer handles on-set logistics, management, and supervision while the executive producer deals more with off-set issues like negotiating contracts, communicating with investors or studios, and maintaining the business face of production. That's not to say that an executive producer has no creative impact. Also, you've heard of "Baggage" perhaps (also known as the dead weight writer's gather during their journey to get it made)... When a producer starts with an IP (or just the writer) and they start adding names to the project to get it to next steps, that's often called "baggage" by the one who really gets it green lighted. Often the one with the juice will say, "I like this script, what's the baggage that comes with it?" meaning, who is attached so when we put this deal together, I know what I am dealing with. That said, in TV an EP is more the creative, perhaps a show runner, content creator, or one who got the show packaged, etc. I find the EP's have more of a boss role in TV than the EP on a day-to-day within a film. In film, also an EP usually handles money (financing) or writes the check but can also be responsible to get talent, distribution, etc. attached more as also a Producer can, but the credits will favor in that vein. Lines blur often also, as in some studio deals, they will limit the number of producers they will credit, so you will start seeing more AND more (and way more) EP's credited as well. I know in some studio deals we've done, they'll cap it at 2 or 4, so any others negotiate "down" to an EP credit, usually done with an ego in place via those who WILL get the Producer credits , or even in fear if the film should win an Oscar, they can be capped by the Academy as well. This was a huge issue on the film, CRASH, if you recall, (if not google that, it was a sh*t show of politics). When it comes to why does an actor have these credits? Well, there's a lot of reasons for that, sometimes its hierarchy (pecking order and negotiated) or their prod. co. was involved or is being forced to get involved (via through their agent's negotiations early on). Does one actor's attachment bring other bankable talent, spark financing or even sales? For example, I did a film years ago with Charlie Sheen... Our company produced it (Charlie was my partner) and his attachment to the film generated the 12M to get it made, he made calls to other actors that were names, etc. so he of course earned his Producer credit and then some. Yes, they will often have a lot of input on the character and the film to some capacity... It is also a clever way to pay an actor more, especially in a favored nations deal... okay, ALL actors named before. the title are to be paid the same BUT, so and so is also a producer and will be paid additionally as such. There are endless reasons an actor can get that credit, sometimes being the first to sign on they'll get it as their reputation gets them that credit, etc. Or their prod. co. will own an IP and get the deal(s) for finance or again, distribution. Sandra Bullock, Dwayne Johnson, Jody Foster are just a few actors who thrive in that realm.

Check this out if ya'd like: https://www.masterclass.com/articles/what-is-an-executive-producer-whats...

Hi Shane Stanley thank you for all the great advice and answers, I plan to use it when I make my first short film this spring.

Jill Godley wonderful! Just make sure you make your first short film in the spring. Cross that finish line and launch your career. I say that as too many get wrapped up in the things that prohibit them from creating. So, go and do!

Thanks for sharing your time with us today, Shane Stanley! Has there ever been a time when having to be both the producer and director on your project put you in a position to prioritize business needs over your creative vision?

Ashley Renee Smith great question... and yes, sadly, it does. But does it make sense to argue with yourself? :) Again, you have to think constantly about 1) Production Value 2) Money 3) Time. We all try to master that but it doesn't always work out. You will ALWAYS have to make compromises, whether you're producing/directing a $5 film or a $50M film. I've made bigger ones in the studio films I've done usually because the dollars to donuts is SO substantial, and the ripple effect can be catastrophic if you don't choose wisely. I can remember a $750,000 day on a studio film and while it was being shot, we just KNEW that would end up on the cutting room floor for a ton of reasons that no one wanted to believe or acknolege on the day, because in pre-prod it made all the sense in the world. How were we going to make up for that (do something else) and be budgeted for it? We came up with something in the script but saved about $680k on that which allowed for a great plan B to get created during production which we later created and reshot (replaced) the $750k scene, and at that level we had the padding to lose 80 grand, but you cannot on an Indie or low budget film.. Filmmaking is improvising and most of all thinking at the speed of light on your feet. At the end of the day, you have to remember it IS a marathon and not a sprint... so many people don't look way down the road (at the horizon) but at the hood of the car or the curve ahead. You really have to think about the ramifications down the line for every decision made. There are times where you may get boxed into a corner and have to make a radical change for the better that will save money, or worse, cost a fortune. Where can you make that up? Do you save a ton of money and edit the film yourself (I end up cutting often because I save the prod. money) so I see that as a potential contingency or do you sacrifice a ton of extras in a scene that you can ultimately ditch and not miss when all is said and done... or can you CGI for a good price those extras, etc? You always have to make it up somewhere and you do your damndest not to sacrifice production value and the good stuff you will later wish ya didn't ditch and kick yourself for keeping the things that cost a bundle. It's a vicious cycle that will never go away but with production savvy you can really help minimize the pain (loss) of what you were never able to get because of those kind of sacrifices. Additionally, for distribution, is a specifically expensive scene more important than getting a great cameo of an actor who really could help in sales/distribution? Do you get an inexpensive camera operator in hopes of saving money but do you equate how much their inexperience will cost you on time, re-takes and missing what you need because you cut those kind of corners? Placing money on the right horse Is crucial in filmmaking in so many arenas.

Shane, can you discuss money before and after a movie is made? Roughly, how much of the budget do you keep for yourself & prod company? When I was doing music videos, I think the standard rate was 20% off the budget for prod company.

And when a finished movie is distributed, how are payments made (payroll, quarterly checks?...), and how do you decide who gets paid first? From my experience, distribution money decreases over Time. (I've never made a studio distributed movie. No idea how studio payroll pays).

Thank you so much for all these incredibly useful insights, Shane Stanley! At what stage do you usually bring a composer on board? I have had some very good experiences getting involved during pre-production. It got me, the writer and the director the chance to think outside of the box and start a creative quest toward creating a new, unique voice for the project, free from the hassle of deadlines and , on a more practical point of view, made it possible to get a clearer idea of a budget for the score in advance, but , of course, this adds more load to the pre-prod process...

When producing and hoping to get a script you like off the ground, what's more important to lock in place first in your experience -- a good lead actor or a director?

Claude Gagne - okay, I could write a book answering that ques--- never mind, LOL. So, you get a script and let's say the hair on the back of your neck raises and you just have to make this movie... What's YOUR game plan? Well, you need to think realistically how much money you can raise based on your track record or connections with talent (and a bankable director). What I do is budget a project I wanna make within the parameters of what I know I can raise based on my track record and financial connections and realistically think what can get it done for... Are there going to be compromises and short cuts here and there? Of course... but the goal is to get it made and not have another un produced screenplay in your hard drive or on your bookshelf. I never read a script I love (wanna produce) and say, "I need this much money to get it done," but instead I ask myself, "How much can I do it for and can I get that amount?" There's a huge difference. Is that done by reaching out to private equity, streaming platforms, sales agents, cast, etc? You know the answer to that because you know who you know and what your path of least resistance is. What's important to remember, (and I've said it in earlier answers) art is nothing but opinion and if everyone knew what a sure-thing script was we'd all be successful folks running a studio or giving Ho-Ho Wood the middle finger and do our own thing because we wouldn't need anyone else. So you never know IF a script is great until the film is made but the end product is nothing but opinion if it's good or not as well. But you hope all the boxes are checked from the git go (on the script) that it has the elements of a good story, characters audiences will engage with and want to spend time with, etc... but some great scripts turn into horrible films and some really bad scripts have become great films. There's of course no guarantee. You just trust your gut and realize it's do or die and you never make the shots you don't take and roll up your sleeves and GO FOR IT!

Shane Stanley Hi Shane, thanks for doing this AMA and the energy you’ve put in to those answers!

Could I ask you about the recoupment waterfall and how it’s managed? Is it a case of first investor is repaid first and perhaps with a more advantageous percentage than the other investors? How are those terms balanced/worked out?

Also, in terms of Co-Producers, what would be an equitable settlement to aim for? Just asking for a friend!

Dan MaxXx good to hear from you... thanks for your questions, sir. For the money up front, it depends. Will I (we) be part of the producer's share and ownership of the film and is that for a lifetime, or are we essentially guns for hire where we get a fee and that's it? If its a gun for hire situation, of course the fees should be higher in my opinion as someone somewhere will be making residual income after the nut is paid off for years to come, (unless there's a fat buyout) but either way, if you're NOT part of that producer/ownership pie, try to get what you can on your rates/fees. Question I often ask is, what are the specific job titles one is doing (are there multiple hats being worn) and what will my or their work bring to the table -or how much will their work be responsible for REALLY getting the film done? I think a man (and of course, woman) is worthy of their wages and we have some basic parameters set to see people aren't getting completely hosed, but you aren't wrong to think 20% Is a good starting off point for a Production Co. fee. But the question rages on, are you the prod. co paying for the editor (is It you, are they in-house or outsourced) or are they being paid separately? When I first started raising independent capital, I was asked one time from a lawyer of the investor, "how much money are you making for this," as he scanned the budget I said I will be fee for writing, directing, producing and editing the film. The script fee is V, the producing fee is X, the directing fee is Y, and the editing fee is X. I have significantly lowered my rates to see this film get made. If you question my rates, I can tell you this: it's common that a writer gets 2- 3% of the budget... as a Producer it should be this much, as a Director that much... oh, and I'm a local 700 union editor, I get paid $3,400 per week + benefits to sit behind someone else's computer in someone else's building. I have significantly cut my rates from the norm, will be on our project for over a year and you're getting all of me." He never questioned me again. I say that as if you're secure in your worth, give em a hometown discount and remind them of the commitment to the project you are making and for how long, why shouldn't you get paid and paid enough to keep the lights on and put food in your tummy? I sometimes will not pay myself, and make it in the deal with the investor has a stop loss of X (the total budget) and whatever is not spent, we keep. Every deal is negotiable, and again, I set different parameters based on if I am an owner on the project or not. Sometimes things can get so lean and mean, you're the one who gets paid last and your rate (fee) becomes less and less and less because of overages and unforeseen issues that come in to play. If you are in a position where YOU get your fee(s) cut first when the sh*t hits the fan, try to build into your deal that you become a top position ( like an investor) to get that money back on the flip side, so you're not ever seeing it again... Just a thought as sometimes the buck stops with us and we are responsible for things that can be totally out of our control. I think ya get the point...

As far as how payments are made, it depends. If there's a buyout or a hefty MG (Minimum Guarantee) the money is usually sent to your sales agent or lawyer, they take their cut and the rest is hopefully sent to your investor so they become more than happy and once they're paid back, divided up with the pie holding producers (from the producers' share mentioned earlier). Now, if there's no MG or buyout and you're seeing quarterly checks from your sales agent or distributor, they will generally send an email with the dollar amounts being disbursed, (less any commissions or costs encored) and the money is usually wired within a few days of that email/letter. They sales agents/distributors are supposed to report at least every quarter, you can negotiate monthly or whenever, the key is how often will they pay it, so make sure they have to pay it out asap and not sit on it for another quarter or longer. No joke. In our world, the investor is who is paid first! We couldn't make the film without them, so they get paid first. Once they are made whole, whatever the agreements are for the rest of the producer's share is how it's paid out. If there's outsiders involved in that share, we just send them the quarterly statements so they know how much has come in. As far as money decreasing, sure, it usually does but there's a whole world out there you can sell to... you may be on a decline here in North America with an outlet but BOOM! Suddenly, you sell Germany, France, or Spain and the dollars come in again and in a good way. That's why when you make your deals and set up your content, think global, not local. I've said before, on average 80% of the returns are global (territory by territory) and there's 50+ territories you can sell, so make sure there's a good sales plan in place to conquer the world, my friend. Films if handled properly can be the gift that keeps on giving. Like residual income, sure the amounts can get less and less over time, but if you sell the world (and God forbid re-license it again and again in territories) it doesn't suck! As far as the studio films, I took advice from someone I really respected early on re: points and back end money, "if you rely on the back end deal, you're a back end!" Get what you can UP FRONT as we all know how creative accounting can and WILL come in to play. So, get what you can up front, and if you're lucky enough to keep some back end points, YAY. I have owned back end in some pretty successful cost to profit films, and never seen a dime... I've been in the same position on films you'd think tanked, and wow... there's a check every couple years that is a nice surprise. But there is no guarantee... we all have heard how Tom Hanks was screwed on Forrest Gump cause "it didn't make any money" so just get what you can up front and hope for a little magic down the road. And we're music videos fun? I do miss them from time to time.

Elena Maro hi, new friend. Great to see you here today! Thx for your question... I am pretty loyal to my music team, we go back over 30 yrs. in one way or another, so they get scripts and long discussions upon green light. I keep em abreast on cast, things that creatively will impact or affect what they will ultimately do, which is so important considering music is so key to our story/film, right? I love involving the composers as early as possible for a lot of reasons as they can bring so much. Sometimes a composer can look at a script and say, "I know you haven't shot a frame of footage yet, but after reading the script, what do you think about this or that, here and there OR better, let me play you the theme I created for this character, this scene or that arc... It's NEVER too early. On our latest film, "Six Days in Evergreen" Tommy Fields wrote a majority of our music back in 2006-08. We didn't even have a script, heck, his music inspired it. So I rely heavy on my own music background and the one(s) composing music to tell the story and help push the emotions we need help pushing. We have all been in an emergency as well where you may not like a composers work, dismiss them because they're not getting it or working out - or sometimes they get a huge job offer they cannot afford to miss, so you have to start over. Anything can happen, and that's a bad way for a composer to come on. There's extra pressure, sometimes part of the budget is already spent in their dept. or worse, there's a few cues the Producer wanna keep, so they're shackled to follow in someone else's footsteps who for one reason or another abandoned or was removed from the project... but I think it's important the composer and producer and director are all on the same page as early as possible.

"Same page" is the password, Shane Stanley, then, I like the concept! Thank you so much!

Pat Alexander Hi there... A common question and I think it's a project-to-project answer. If you're looking at a larger budget project with a network or studio, the cast will often drive its momentum into getting green lit. For example, is Sandra Bullock getting a film green lit or is Antonio Campos? A lot of stars will sign on with the "I get to approve the director" so that says a lot. Now there are the Christopher Nolan's and formerly Oliver Stones and Tony Scott's who command that juice and respect, so they can go to a studio and say, "this is my next, lets package this beast." I don't think that should be any different in the lower/indie world but lets be realistic... unless your Nolan, Spielberg, or Scorsese, are they selling or advertising the film on the Director or the Star? Michelle Williams is starting her new series at FX (Dying for Sex). She was signed on long before the director and together, she and the execs selected those directors who will shoot the 8 episodes. It was a team effort in putting it together. That's a TV example. For us... I know what I bring (value wise) and what guarantees I will have as a director (don't worry, Spielberg shouldn't be at all threatened, LOL) but with me, I can bring this actor and that actor, so here's the package. I go in hunting and gathering the cast we want to include or work with and hope they're comfortable signing on and we go from there. Now, often an actor you may want will be hesitant... if they don't know the producers, the writer or a yet to be named director, so what is going to lure them in? So, in some cases a Director, but I see that being more for the actor's to sign on than money at the Indie level or distribution. A strong director or someone with a good track record can attract the talent you want or need. Sometimes an actor's commitment will be contingent on the director hired, so you can always risk losing a good actor if you cannot get who they will approve, which really puts them in the driver's seat and you at a disadvantage. Hope all that was helpful :)

Loving these Q's and A's. Always learning something new from you Shane Stanley

Geoff Hall

Thank you, kindly. Remember, EVERY deal is different. For us, we stopped using multiple investors years ago (back in 1995 I think was the last). Why? Oh, wait, we did it one final, final time in 2001 and had the same problem... no investor is in the same position (in their own finances) and have different expectations or demands. It can get a bit nuts when one investor may need money and money now for whatever reason and the other is completely detached and chill. We had one investor who was in no means financially secure enough to make a large investment like he did, and the other investor had more money than God. So what this did was we had one partner who trusted us, and the process to get the film sold to the right place in the time it would take and another who was freaking out and sweating bullets because from investment to sales could actually take a year. So, for me (us) I stray from that unless it's a group who are all "equals" as far as I am concerned. Now, I understand and respect others work differently and use multiple investors, so I guess if that's how you roll, they'd need to be placed in order of the size of their investment and also take into consideration when they came in to play.... you've heard the term, "Last money in, first money out?" so lets say you have 3/4 your budget financed by one entity and need that last 1/4... so is it fair to the other investor(s) that gave you the lion share to have a last in, first out in play? It's usually best to just have a Producer's Share and pending how much was invested, that's the size of their piece of the pie IF the ones who put the big money agree to that. With my investors, they are in first position for returns, no if's, ands or buts... I do have the right to seek additional monies and for whatever reason I deem fit, but their position and ownership stake is not negotiable or ever messed with. Again, every deal is different, but always best to be completely transparent and have it all up front who is getting how much and why and when when the money comes in.

As far as equitable settlement for a co-producer? You mean points? or a rate? I've been a co-prod on some studio or large "Indies" back in the day, points usually were not offered, so the fee could be in the day rate or per week vein. I have had points offered as a co-prod as well, sometimes a point, maybe two, but it is of producer's net or gross? That's the 64,000 dollar question, as there is a HUGE difference. Always best to negotiate a producer's net as with costs, fees, commissions, and actor back end, you cannot usually dictate guarantees up front on back end gross AND do you want that "baggage" for a potential buyout to see what they'd have to pay crew and such? It can be too much and cause an acquisition deal to go south. Hope that helps.

Thank you, awesome very helpful :)

Where do you find investors?

Travis Seppala thank you. I’m glad you’re finding these interactions useful. I don’t think there’s really an answer where you find investors… you have to develop relationships over long periods of time, that lead to building blocks and meeting people that want to get involved in what you’re doing and you go from there.Travis, it’s been a 35 year journey and I will tell you all the private equity I’ve raised has come from people that have said “don’t ever ask me to invest in film, I won’t do it,” so why did they? Trust. A foundation where they saw how I conducted my self professionally and showed I didn’t need them. Sadly, there’s no click of the heels answer regardless of what you’ve read anywhere or what other platforms will tell you. The easy answer is it’s investing in relationships, investing in yourself and being willing to wait it out. Keep creating content on a dime and show people what you can do with what little you have so they want to put much into you .

Wow,Shane Stanley ! Above and beyond!! Thanks much for your time and the share. Imma put on a pot of coffee and head back here for some knowledge.

Shane Stanley Wow. What comprehensive answers to questions. You are amazing. Do you ever change direction when you're in the middle of a project, thinking, nope, that doesn't work anymore? Also, how do you know when it's ready for the next stage? Sometimes we don't know when to stop. ;) Or do you just close your eyes and hope for the best, knowing that you can improve on the next project?

Shane Stanley, thank you for your detailed answer to my question. You gave me a lot to think about and consider. I've been waiting to get my hands on the "Independent Producers Guild's" upcoming "FilmPod" distribution app, so I'm going to see if that might show some promise. It's kind of a scary time to be considering producing anything.

Chris Donald Griffin you are so welcome. Wishing you much success with your endeavors. .

Thank you Shane Stanley - you've shared so many great in depth answers, I can't think of a question to ask! Appreciate it.

Debbie Elicksen okay, I think I know what you’re asking … whilst in pre production, do you ever bail or change it all from one project to an another? I’ve never done that.. once I commit - I commit. But what does it take me to commit? To do that I’ve already broken down all the logistics, budget, scheduled and such and even will reach out to cast to see where the interest levels are. Of course, sales agents and global distributors I work with are privy to what I’m doing so they can be helpful with some insight for the story or even offer cast suggestions. As far as knowing when it’s ready for the next phase, assuming getting it financed or packaged… it’s a gut feeling for me. Do we have all our ducks in a row, the distribution set and cast (enough) in place to go and get the money to move us into real pre production and contract it. I refuse to stop once I am that far in unless an investor would personally like to see something different made or us to consider something else we have in our arsenal one reason or another but that’s only happened once or twice in 30+ yrs. But I never close my eyes (I go in with them wide - f*n - open) and hope for best, prepare for the worst, and expect the unexpected. Just remember to be over prepared as I’ve said - and in every area you can. But yes, you will make mistakes, just learn from them and make sure to not make them again and your next film will automatically be better, right? Just make sure ya don’t overthink yourself into not being productive at all - we can tend to put up our own self imposed hurdles, which keep us grounded and never allow us to fly.

Shane,

As a music composer producer, working with other indie artists/ film directors-producers,

What concepts and contracts can you provide or talk about to help during the (mostly) post - production phase?

Thank you Shane Stanley that is a great description. It clears things up.

Shane Stanley thank you so much, Shane. That’s incredibly useful.

For the film in development at the moment, we are looking for sponsorship from HNW individuals or foundations. I’ve Produced small scale shorts, which have a basic, simple day rate management of finances, but features are a complex beast and I want to learn as much as I can before we get into production. Thanks again for your answer and sharing your knowledge with the Stage32 community. Here’s wishing you all the best.

Thank you Geoff Hall and good to hear. I suggest you check out the book before you go too far. It really breaks all that down for you my friend.

www.whatyoudontlearninfilmschool.com

Best of luck

Shane Stanley before I go too far?

Every Indie producer should read Shane's book. It really is a bible. Learning from Shane through his wins and losses, helps to avoid similar situations. I have it and trust, I can relate. Working on a bigger project now and very grateful to have a reference guide to go back and pinpoint where I am going wrong or where I am on track. As an indie producer, I'm always learning on the job and its nice to know I'm not a complete cluster *** because others have experienced before me. Shane's candor is refreshing in an industry that keeps its secrets close to its chest.

Kerry Kennard Thanks for your question, sir. I mention in my book, a great resource for many has been John W. Cones, a securities and entertainment attorney who has written several books on the motion picture business has a website that is quite helpful. You can download all sorts of boilerplates there including useful guides explaining in detail what you will need when putting your chain of title documents together. I don't know if you will find exactly what you are looking for, but here it is I am sure if it's not there, you can google what you need. Best of luck. His site is: https://www.filmfinanceattorney.com

Geoff Hall you said in your last statement, "but features are a complex beast and I want to learn as much as I can before we get into production" - so if you want to better understand all of that (and then some), I was suggesting you check out the book, as it really can be of help. (meaning before you go too far into a pre-production or even business plan I am recommending you. give it a gander).

Sasha Tomas Thank you for those nice words, and your ringing endorsement... that means so much, because what you said is exactly why I wrote it. Just to help make that road less difficult, to save ya some twisted ankles and boo-boos along the way. You WILL make your own mistakes on your journey... Trust me, I have been that, done there in this business and it's just there as a kind of road map on what roads NOT to take :). Glad it's been a great resource for you. We are looking at a second edition with a lot of new adds, I've done 4 or 5 films since and even another studio project, so there's a lot more updated thoughts/suggestions and with the new norm being the "digital age" of streaming and all the deals out there and excuses sales agents are making now for NOT delivering, it's almost time for an update. Stay strong and best of luck to you with your endeavors.

Hey Stage 32, I have really enjoyed interacting with you all during these AMA's. As many know, my doors are open to ya - it doesn't end here. You can reach out if you have some questions or need additional guidance, or advice - we are there to help. Please note, we DO NOT read scripts or accept unsolicited material, but offering an occasional hand navigating this crazy business, we do what we can when we can. All we ask, is that if it's an answer you're seeking that can be found on google or the like, try that first :). The email is: info@shanestanley.net. All the best and keep moving forward!!

Thanks again for having this AMA, Shane Stanley. It was incredible!!! I learned A LOT!

Hi Shane Stanley ,

Thank you so much for sharing your experience and knowledge!!

Really appreciate it.

I’ll look into the website you shared.

I already found one composer agreement/ contract!

Thanks again !

K. Kennard

Kerry Kennard great.

Maurice Vaughan thank you for your participation my good man.

You're welcome, Shane Stanley.

Thank you so much, Shane Stanley! You're so appreciated as a part of this community.

Ashley Renee Smith it was my absolute pleasure and thank you so much for those kind words, they truly mean the world.This was a fun session and a great group through and through. I look forward to the next.

Thank you so much for an incredible AMA! Your generosity in sharing your time and insights sets a great example for all of us in the community, Shane Stanley !

Great work Shane Stanley! Your answers were thorough and insightful. Great stuff!

Elena Maro thank you, thank you. You’re so kind.

Nick Phillips moochas gracias senior. I really appreciate that.

Ah, Shane Stanley that makes sense. Well, I’m fortunate as the writer/director of the film that I have a great EP and Producer to learn from. I’ll be taking copious notes! And yes, I will check out your book, as it makes sense to be wise before the act and not after the fact. Be well.

Shane Stanley Thanks for the tips and time with us! Thank you STAGE32! This shows how you should conduct your projects in the future. Very useful ! You go hunting, get the trust and investment (money), and most importantly, steer the ship with a crew by your side, TRUST AND CREW. Congratulations on the books and the EMA!!!

John January Noble thanks for the kind words… and yes sir, 100%. Now, go get em!

Shane Stanley Thank you !