9 EMERGING CINEMA from a “Safe Harbor” PHILADELPHIA (Native) INDEPENDENT FESTIVAL 9 PI9 – October 24-25 2015. The Nine Sisters of “Philadelphia” present PI9 cinema 2015: EMERGING CINEMA! A Native Theatrical Consortium of local A-list filmmakers and filmmaking! Get your submissions and passes now through WAB/FilmFreeway. We are celebrating(9) consecutive years and (9) Local Venues in our Past History: PAFA, Unitarian Church, Constitution Center, Franklin Institute, Media Bureau, No Libs, Caplan, Levitt Hall & the Philadelphia Art Alliance. Winning Screenings of films that Rock! Every year, year after year in a Party-like atmosphere! Our 2015/16 Season of “EMERGING CINEMA” will light up Levitt Hall on Broad Street and the infamous Art Alliance in Philadelphia on Rittenhouse Square. University of the Arts is sponsoring this filmic event. Advanced tickets will get you close to the action so don’t get left in the background. Food, fun, libations and film! Get connected! “Pronto!” for your “Pass”!BFB@MediaBureau.com 1.267.228.0333 is the desk of: Benjamin F. Barnett, Festival Director in sales, marketing and distribution. Come celebrate our 19th year Anniversary of The MEDIA BUREAU on 10/24 @ 7P. Art Alliance. Harbor 9 Consortium “Enriching a safe harbor in making a life in film” About the Festival Director: For 19 years, Ben Barnett has helped produce music, art and film for local Philadelphians from his Legendary Studio, THE MEDIA BUREAU NETWORK, since 1996 ‘Laurel’ Categories under consideration: CONTENT, of course! Best Campaign (Flip the Clip) Alternative sound, music & media *Native adverts (1) ea. – Marketing Brands & Branding, leaving a footprint- Social/Mobile & National platforms: Viral/YouTube/Broadcast/popular culture, social media, Start-ups, Marketing, Distribution, Articles, magazines and e-news COMMITTEE Benjamin F. Barnett, Fest Founder c/o marketing, sales and distribution via cyber space James Di Fonzo, MFA in PC, Predatory Strategist c/o Native Adverts and Live Buzz. Kenneth McGregor, Chairman Selection Committee Michael Lassiter, Marketing & Sponsorship promotions TITLES: In the Dark, A Place in Hell and Rubble Kings “We Sell Life!” -All American Artists Ticket Links:
Http://bit.ly/RubbleKingsUFF.
Http://bit.ly/PlaceInHell -
Http://bit.ly/Horrorx PI9 Consortium Members: *Saki (social media), Martin Olayo, David Kurlansik, Bernard Glincosky, David Barnett, Maria Kraybill, POP (Popular Culture)
I am having the exact same problem, I have been hired by a few small productions and.now I am
Being approached by a few people asking me to write for them and asking me how much I charge. The 2.5 perce...
Expand commentI am having the exact same problem, I have been hired by a few small productions and.now I am
Being approached by a few people asking me to write for them and asking me how much I charge. The 2.5 percent is a good idea but I am often asked to write the script first so the producer or whoever can apply for funding. So while 2.5 sounds awesome we often don’t know what the budget is going to be. I don’t want to undersell myself nor do I want to over charge as they are all small indie productions. It’s so confusing
1 person likes this
Jo Weiss,
2.5% doesn't really cover all the bases fairly. A good contract with a deferred payment for a writer assignment on spec and subject to funding should specify various tiers of payment in relat...
Expand commentJo Weiss,
2.5% doesn't really cover all the bases fairly. A good contract with a deferred payment for a writer assignment on spec and subject to funding should specify various tiers of payment in relation to budget with a low point that doesn't go below $5K and a high point that that aligns with WGA minimum at the time. You should also be getting paid, at least in part, as soon as the funds have been transferred to the production account.
Competent producers should have a clear idea of minimum and ideal budget. They should have a sales strategy and know the min needed to make a profitable return along with the max point where returns won't likely cover the budget. Long story short, there shouldn't be any big surprises.Participation is just too convoluted to rely on and easy to manipulate. Someone could offer you 25% of all global theatrical net for a lifetime but, if you don't have a right to an audit at their cost within a fair timeframe, you can't even legally determine if a movie has made money. If someone offers a really simple and generous participation agreement, take it, but never rely on it. You'll be way down the waterfall and the kind of productions asking for spec writing are often the kind that make a loss.
Dan Guardino raises a good suggestion about a risk premium. Ideally, they shouldn't be having their cake and eating it by asking a writer to do speculative work and then only paying their usual rate.
As ever, due diligence is essential here. You only want to get involved in these kind of relationships with producers who have a track record.
1 person likes this
I agree with both Dan G & CJ - there are lots of squishy parts in all 'participation' deals. This is not spec work. My rates; I'll talk with you for a low five figure retainer, I'll commit to a projec...
Expand commentI agree with both Dan G & CJ - there are lots of squishy parts in all 'participation' deals. This is not spec work. My rates; I'll talk with you for a low five figure retainer, I'll commit to a project for a low six figure (quarter on commencement), half at completion, last quarter on the principal day of shooting. I may want a small piece of the gross. Talk is cheap. When it comes to development hell - you're on your own.