Producing

After reading a few posts let me see if I understand what you have to do as a 1st time producer.

1. Get a great script.

2. Put together a great team of film professionals.

3. Put together financials that show investors how they are going to get their money back.

4. Try to get someone well-known attached to the script.

Please let me know what I am missing.

I'm looking to use the classic Fisher Price Chatter Phone toy as a prop in a film. If logo stickers are off and the phone is slightly altered, do you think this would be a copyright issue to be concerned about?

How do you make money from short films?

So I guess I'm partially venting but this is an earnest question to the community, so I'm also seeking your feedback and wisdom. I realize that the words "we don't accept unsolicited requests" is a code word for "I don't want to talk to you or deal with your request to the person I represent". However, when people use that phrase when I'm making an actual solicitation to them, in a phone conversation, the cynicism of that phrase loses all subtlety. So my question is: How do I solicit an agent, manager, actor, producer, investor, if my solicitation must be preceded by a solicitation? Is it just as simple as hiring an entertainment lawyer so he can make your same solicitation following the phrase: "I'm a lawyer and I represent ..."?
I have included a video of my dog getting trapped in a blanket in case you did not find this post entertaining.

If you want to bring a REAL producer (track record on IMDB) to the board and add credibility to your project you have to know that they don't work for free. You have to pay them something upfront or figure out another form of payment. And there is very little room for maneuvering and the art of negotiation. Money talks, BS...
If you start with ULB projects or no budget projects most of the time you have to do pretty much everything yourself and have no expectations that qualified people might come aboard and you've rescued. That is just a reality that you have to face to with that type of a set up. 
But the moment you want to move up that ladder into some budget films and play the game with the real boys and the market you have to have a bigger team and a talent.
So that is not about what a log line and a script you have in hand but who is involved and taking that boat trip with you. 
Thoughts?  

hello, I have my own short script that I am planning on shooting in the summer of 2017. my experience is in film scoring so I am coming here for advice. I have a few folks who are not sag actors who I feel are a great fit for my film. This will be the first time producing and working with actors on this scale (I was a PA before) what would be a great price to pay the actors. I don't have a major budget. Any pay will be out of my own money. I was thinking 150 a day (a bit more than 10usd an hour) or is a flat rate acceptable? Thank you.

From an international producer’s point-of-view, which is better: to test your idea and loglines on some hapless passer-by (as suggested in Save The Cat), or to run it by a producer or distributor? The Average Joe/s might think that the idea has merit, but oftentimes it’s not what a producer is looking for. Is it not wiser then to write a spec script based on what producers are looking for? I know it’s a gamble either way, but which option has the better odds of being picked up? There’s conflicting opinions on other online platforms, with many assertions that the spec market is dead. What’s the consensus with producers on this forum?

I have an idea for two stories. Unfortunately, I am having a couple of problems I am having a problem coming up with decent log lines. I find it a lot easier to explain the stories as best as I can. Do any of you have any ideas or suggestions for someone like me who never written one before? In addition, I have tried using a crowd-funding site to raise money for someone to help me. As of this date, not one person, even the ones I know, have offered to help me in any way. Given how difficult I found to do that, would a producer even listen to someone who has a story idea but no actual script. I am more than willing to work with any professional screenwriter. Unfortunately, I simply have no way of hiring one on my own. There is a site called “greenlightmymovie.com” that I would like to check out; they are not expensive. However, I do not want to spend money there to pitch a project if they expect me to have a polished script at the ready. What do you all have to say?

Looking for Bi-lingual crew in CHINAHey There People of Stage 32 - do any of you know Chinese crew people and production staff in Beijing, Shanghai or Guangzhou, that are bi-lingual? We are looking for a smart Line Producer, Production Manager and Production Accountant. If anyone has a line into staffing Chinese Nationals it would be most appreciated. Job starts mid-August and ends late October. Many thanks for any input.

Hope this helps. https://www.youtube.com/watch?v=QOyuRhH7mZY

Funding Feature Films and Submitting your TV Series to Networks:
Investors, network and industry executives answering questions and telling the truth about what it takes for independents to get funding for their film or their TV project submitted to the networks.
Some of you may have already read this information. I posted it again because for those who have not read it, they may find it helpful.
My name is Elyse, and I am a producer and new member to the production team at BSI.
I was invited by our executives to attend an event attended by Hollywood executives, insiders and investors from different parts of the world, and had a candid conversation with investor Syd Shaffer from Europe and two of his partners.
Mr. Shaffer and his team have helped raise funds for some of the world’s top grossing films, including several major projects that our executive producers – Slavik I.A. and Susan B. Flanagan have helped develop and produce. He agreed to answer a few questions I had about funding independent projects.
*Warning … Syd has a colorful way of talking.
Elyse: What chance does an independent really have of getting a film funded?
Syd: They have the same chance as anyone else in this room, if their plan has the right people presenting it and they play by the rules.
Elyse: So, who are the “right people” and what are the rules?
Syd: The right people are those who have a fking clue about how this process works. No one in this room has ever given millions to someone they never heard of, never met, who has no credits and only a script to show us. If you got a team that has experience, credits from major studios / networks and has contacts or has access to people on the inside … you can play. But if all you got is a script, your chances of getting funding from anyone in here is none and never.
As for the rules, they’re very simple. Have a team that knows both the business side of this industry and the creative. If talking to someone in this room, they want to know the genre, who’s in it, how much is needed, what financial instruments do you have in place to protect their investment, distribution and how much profit will I make.
Keep in mind, they don’t care what your script is about because they don’t know a damn thing about producing a film. I along with everyone in this room haven’t read a script in years. If I want to know about your script or what it takes to produce it, I’ll hire Susan or someone like her to tell me what the hell is going on.
Let me ask you a question. I know most of your execs; do you think they have time to read scripts, or do they have you do it?
Elyse: If independents don’t know the right people or have a team what can they do? ​
Syd: If you don’t have a team or the right people or know how to put a team together, consider signing on with someone that has a team in place. There are professional writers, producers and even production companies you may be able to retain to assist you. News flash … they’re not going to do this sh*t for free. But whatever you do, don’t retain just anybody to help you. There are a lot of good people in this industry that can do what they say, unfortunately there are also a lot that can’t do a damn thing. Look at their credits (IMDB) this is a good place to start.
If independents want to compete, then they need to find a way to get someone on their team that at least has credits, has contacts or at least runs in the same circles as other players. I recognize putting a team together has it challenges, the biggest one is getting the right people to help you. But I know for a fact it can be done, because we fund some of those projects!
Also, putting a team together is easier than trying to secure help from studios, networks, accredited production companies or getting an agent … in my opinion. These people are about making money and will not talk to you without the right people supporting you. All they want to know is, how you can make them money or get them ratings.
Elyse: What if an independent does not have a team and does not want to retain someone to help them, what other options can they pursue for finding an investor? ​
Syd: Really? Is this a serious question? So, you’re going to ask me for millions but don’t want to follow my rules. So why the fk should I give you my client’s money? Listen, years ago you could have gone direct to the studios or networks and someone would have looked at your project. Fast forward to today, you can’t even get past the operator.
The reason being, there’s a shit load of money being paid out even for low budget movies, not to mention big budgeted films, even some TV shows have budgets in the millions … per episode! The rules have changed and the process has changed. No longer is a script the only most important step in the process. All the steps are important. So, if they don’t want to follow the rules, what is it that they want me to do?
This is big business! You can’t even rob a bank and get the money people are asking for these days. High risk and high rewards are out there for those who want to play. If an independent wants to go up against insiders for funding their films or getting a TV project on the air, it ain’t gonna be easy and that’s even if they have some serious people helping them! But if you don’t follow the process chances are the challenges will be even greater.
But I say go for it. Everyone I know on the creative side has had a project passed on at some point, some more than others. I’m talking big names in this industry. But they still find a way to make it happen. With all the new options for distributing content that’s available, independents can make it happen.
Elyse: How can independents contact people like you, and do most investors think like you? ​
Syd: You’re funny. What did I just tell you, if you play by the rules you can find anyone in this room. If you don’t, you won’t.
As for do most investors think like me. Hell no! But those that don’t, tend to lose a lot of money. Nearly everyone in here makes decisions based on a variety of factors that are specific to what they’re looking for. So, I have no f**king clue what everyone else does, but I do know, if you show up here holding only a script … drink quickly, because security will be escorting you out.