Producing

Mac Hawbaker Raising money is all about finding the right investor for your project. I do a lot research on the person I'm going into a meeting with. Find what interest them and listen to what they say. A lot of the times they will say what they're looking for. Make their investment worth their while. Keep your pitch on track. Answer questions the best you can and be honest with them what it'll take to get their expectations. It's also a great tool if you know or know someone who can make things work on a budget.

I didn't see Peanut Butter but read the estimated budget was 6 million. The Hunt which was cancelled cost estimated 15 million. I assume the cost of The Hunt must have been related to having more established actors involved.

Do any one know a good Boom Operator i need there services 27th sept to 2nd oct on my new Documentary Film Project they should contact me alvarezjohn030@gmail.com

There’s a few studies that show that late expenditures (ie marketing) are key drivers for experiential products like movies and music. It’s the fact that quality can’t be determined until the product is actually experienced so people look for proxies to help manage their angst. Most Hollywood films don’t need the big marketing budgets they have but it’s about owning a period of time rather than return on investment. There’s a bit of vanity publishing going on.

Three minutes into Peanut Butter Falcon I was ready to walk out. Glad I didn't. Despite some credibility issues the wacky story hooked me. Judging by the last 5 minutes it was probably much longer but got abruptly shortened for distribution purposes.

M L. yeah, I would love if Peerspace was available in Portugal. If anyone knows of any alternatives, a bit more international, please let me know.

Thanks Katie for the reply, that is the kind of experience I want to experience heheh With the Hotels I seem to remember someone telling me that you can never really do it... Maybe I'll try with a photoshoot first

Dan and Lindbergh thank you as well... insurance and leaving the place better than it was, got it.

Sounds like a liability! Certainly not without authorization, agreements, etc. of course. Better filming sites I would think.

Air... bnb...IDK.

Air?

Well isn't that anywhere we'd like to be?

Bed to breakfast... what the alluring common uncommon scene.

Or: are you too late?

Cool!

Having a cinematic vision is crucial (in my humble opinion).

The set is a character or reflects the characters. You can do this in two ways:

Set as a character: The Hunchback of Notre Dame (animated). Notre Dame has a mood in every scene. The Fifth Element. Every setpiece tells a story creating the illusion of a larger world with its own rules.

Set reflecting a character: Back to the Future, opening scene and throughout shots of Doc Brown's garage and house. You know a great deal about this character from what he surrounds himself with. The same can be said of Citizen Kane.

Storyboards, storyboards, storyboards. If you're doing something fantastical- concept art. Everyone needs to get on board with the same vision. Giving the cast and crew visuals to look at is great.

I'm not sure you have understood, I'm looking for issues or stumbling blocks you have encountered with when it comes to production and art direction. Stuff that could have been improved in hindsight. Doug Nelson Amber Greenlee

Are you paying? Stop by the many Off-broadway Theaters and talk to management, ask for referrals

The success of the book series will open up other options but you need to work on marketing the books first and not overreach. Concrete on building that brand, getting good reviews and generating positive word-of-mouth.

Also, you should reach out to this company. Owned by Tusca Musk (Elon Musk's sister). She's looking for romantic originals. She wants to build a library of titles.

https://www.passionflix.com

Thank you, everyone, for your tips. They are greatly appreciated. I'm definitely looking into Passionfix.

1. video is a GREAT way of selling your book and other literary properties. 2. it is likely an absolute waste of money and time hoping sizzlers will attract the interest of studios. 3. So if you are looking for the latter, my advice is... don't. 4 But if you are looking fore the former, or to create your own series based on one of your properties, contact me directly to discuss. You cannot do it successfully without a professional team.

Any news on this post, Patricia M. Bates?

Thanks so much Aaron!! Will do!

Competitions do not sell scripts, but they occasionally sell Writers.

Don't waste your time looking for short cuts. The only thing that works is to pitch, pitch, pitch. And no amount of money will buy you the opportunity to pitch for real. Write letters. emails, make phone calls, and get used to being told NO! and to F-- OFF!

Pitch EVERYBODY-- you don't know who they might know.

There are Producers on this very thread-- why aren't you pitching your show? You're blowing it!

Register or copyright it, and start pitching.

FYI: They're only the right hands if it's the right script.

Kay-thanks for your input! I've pitched to producers on this forum so I wouldn't say that I'm 'blowing it'. I'll keep pitching, pitching, and pitching like people, including you, have suggested.

What is HPF?

Joanne Butcher Hollywood Pitch Festival...

Production company should option the rights to the book since this is the entity making the movie. Then a work for hire agreement between said company and writers (yourself included) of screenplay. If the production company is yours, make sure you retain the rights in case you are in conflict with the co-writer.

Douglas, we are the production company too, and that's what makes this odd, but this is the way the author wanted to work things out. They wanted to partner with me on the book, not the production company. Though I may just try to convince them to do this the traditional way in order to make it cut and dry. Your approach seems to be the best way to go otherwise. Get the rights to the book and then hire author and myself as the writers. Thanks for the input.

Yeah, I think that's your best bet Michael. Good luck with it my friend

You're getting the right to option the story? So you have the option to option is what it sounds like. Why don't you just buy the story outright and offer the author a piece of the backside - if there is any. If it turns out that you can't/won't produce the film, you can always quit claim the rights back to the author.

Sorry for my delayed response Doug. We tried to do that but it's not an option at this point in time (unfortunately). We have moved on and I'm right now writing the script. And after that will get the rights to produce the movie. It's a little more cut and dry.

All great points, Tasneem.