Filmmaking / Directing : Pit Stop by Anthony Brownrigg

It's the same for every creative project. When I started a trade magazine in the early 1990s, it only worked because I'd already spent ten years building a network in the industry, and knew everyone from the writers to the printers to the advertisers. I started by preparing the equivalent of a logline and a verbal pitch. I then went around talking it up until I had enough of my friends on board to make it all work from beginning to end. Don't mean to be negative, but, to quote John Lennon: "Christ you know it ain't easy." But, if it were easy, it wouldn't be worth doing, would it?

It really depends on the particular genre of your story. Some genres lend themselves to making an ultra low budget film, whether a short teaser/trailer/proof of concept type project or a full length micro budget feature. But of course, that also takes money and the marketplace for such projects is seriously crowded. And frankly, if you're hearing "get us a package", and "make sure you have attachments to it", I don't know the details, but it sounds to me as if such people are saying, in effect, 'you do all the hard work and then we'll be happy to participate'. One specific point. If you have the rights to the novel but you do not have an adaptation or completed script, unless the novel is a best seller or is written by a writer whose novels have become movies in the past, it will make your task much more difficult.

At its most basic, "packaging" simply means attaching interested actors or directors or an exec producer to your project who will give it added clout with investors and distributors. Your project's anticipated budget will determine whether your attachments are A-list or B-list. Another option would be to get name endorsements of the novel itself and/or the script adaptation of the novel.

I think you're right. Thee days writers are forced to play at least part of a producer's role in putting a package together. Perhaps writers should start thinking of themeselves as writer/producer and get credit for that

As a journalist and novelist as well as a screenwriter, I can report that writers in general are expected to saddle an unconscionable amount of the effort to sell their work these days. It seems salespeople no longer want to make the effort to sell stuff. They just want to collect commissions for doing nothing! So, yeah, that's why I learned to do all the jobs, from concept to distribution. Now, I call myself a "Producer," and spent last night playing Foley artist instead of sleeping, while today I have to create a Facebook page for the project after I meet with the Director to go over the scene breakdown for the script I rewrote last week, so I can plan product placements....

You're right, Charles. When you wear that many hats you're definitely a producer.

The market has changed considerably and with those changes - treatments, screenplays and scripts are being looked at as "hypothetical ideas" instead of "viable properties". This is until the concept, even in written form, transforms to communicate the larger business picture (budgets, ROI, talent) investors and studios are looking for. Ever get a response from a studio or a media management company that makes you think they are interested, only to find an about-face a little later? Or getting your hard work handed back with an "include this or that," but of course, there is no guarantee that the hoops once jumped will yield a deal. They are really, really adept at being polite and not hurting too many feelings (even if they don't like your content, they do after all... want you to like and watch their movies). The truth is - today your content must be structured as a business to be viewed as viable. You don't have to do all the heavy lifting, but you do have to be willing to financially invest in yourself, just like you would if you wanted to go to college to become a neurosurgeon, to get your project through the right doors and in-front of the right people, it takes so much more than a unique property. Velocity Media specializes in build-outs/producers packages and we are willing to come along side and get your project to a place where it can become viable and visible. We consult, so it is not a free service, but our services can be curtailed to your project needs. Feel free to shoot me a message and I will send you informational materials on what we do. Best wishes to all! I love to see so much synergy and sharing, even surrounding the frustrations. Keep plugging! J

Very true, Crystal. Unfortunately, we've all been down that road. But for someone like Anthony, who's new and inexperienced, I'd suggest taking one of S-32's producer seminars @ $39 or subscribe to FilmSpecific.com @ $19.99 per month or, if he wants a more personal touch, using a service such as Jennifer's. Bottom line is he needs to put a credible package together, whether for the four individuals he's currently dealing with or to post it on an investor site such as Slated.

@ Crystal. Yes, an accredited sales agent can give invaluable feedback on projected name talent and keep him from wasting time on names which won't maximize ROI, particularly overseas. And there a number of excellent indie-friendly agents available. Most, however, will need to know his projected budget level.

Like others have said, no "magic beans," Anthony. If you're producing an indie, you have to put together an undeniable package in order to trigger financing. It's part of the job. Agents and managers understand that indie films are put together in this way - piece by piece, so there's nothing particularly negative associated with the process. You shouldn't be afraid of being seen as "undesirable." You're participating in the standard process of packaging an indie film.