Recently I left, or better yet my contract expired with a production company. I believe both parties could say that we did more good than bad and that it's an amicable parting of ways. But it is a parting of ways. Which means I am back to Freelance.
It takes time to shake off the cob webs of the last job, which I have had. So now we are back to it. Back to looking at projects and finding work.
This is kind of like voting, usually for a candidate that is the lesser of many perceived evils. Only to find out 2 years into the term a bunch of crud that you didn't know about in the election. Some rules of Vetting projects that I like to stick too.
RULE 1. Show me the money.
I want proof that there is money in a bank account that is associated with the project.
RULE 2. Does creative have a clue?
The heads of creative, writer/director should have some kind of idea as to what they are doing. Even if they don't have experience if they are asking the right questions and have spent time to research what it is going to take to execute the vision then that can work.
RULE 3. Who, What, When, Why is any talent attached, behind or in front of the camera?
This eludes to any actors or anybody else that is attached to the film. You often find a bunch of "Unnecessary baggage" in this section. People who are attached that sell themselves as an asset that are more of a liability and can be a great reason to walk away before getting yourself into a mess. Conversely if you need the money or think it's going to be a manageable problem then your at least ready for it. The important thing is to look under this rock. You should know EVERY SINGLE PERSON or entity that has a hand in the equity pot. Family members, friends, other companies, associates, lawyers, sales agents, managers, cousins, Artists, rappers, god parents, a priest, anybody. [ Yes this list is oddly specific on purpose and I am leaving entire categories out, trust me they show up]
Why, you ask? Because you are in business with ALL of them. They can show up at really really bad times and have the legal backing to make your job hell. Producing is already hard, this is a thing I do to try and be able to anticipate this issue, I look.
RULE 4. What is the business structure of the film?
Is it an LLC? Which is usually the case. Who actually owns the IP? Who is actually involved in that structure? I often find that people from the previous Rule 3 show up in this rule. Chain of Title of ownership because that is who you are really working for. A lot of people do not take this seriously until distribution, I think that's a mistake. I recently, last year, had to take a very experience producer to task about this because it wasn't done and we where doing a very elaborate test shoot that would reveal key parts of our IP to a large crew. But that's not who the treat would be from, it would be from the many hands of financiers that would be coming by the shoot. Sometimes the money is not friendly. To this day that producer has no idea the some of the money people were trying to shut down his show from day one. I know that I did my job by making sure the Chain of Title and copyright were locked in before that test shoot. It's film, people steal, especially in indie world. Copyright is cheap, chain of title is cheap to establish it just takes a little time. Lots' of value for little effort, no reason to not do it early.
RULE 5. Distribution/Exhibition What is the Plan?
Nine times out of ten there isn't one. It's usually, "Festivals?" the team that is already in place will say that as a question with varying degrees of confidence. I have a job I am looking at right now that wants to shoot Next Month and wants an experienced producer with "ESTABLISHED DISTRIBUTION EXPERIENCE", yes they put that in bold, and yes it's in the same posting that says they are shooting next month. No budget given, no director name given, I am gonna guess they don't have a plan because of these things just from the job posting.
What the play should kind of look like. Both categories, keep in mind you can do both, which is probably the best plan.
A. Festivals - You want the project to have targeted festivals for a reason. The film maker (Director and/or Writer) should have done some research into what festivals this film will likely do the best in. It's best if they have a route to a bigger festival that has a film market place attached to the festival. They also should understand what AFM is. If not understand have good questions in that direction. A route looks like this (Local Festival that is in Genre specifically [ Horror, Queer, Sci-Fi, Minority Specific, etc] what your looking for is an easy win. Your trying to collect "Laurels" or "Awards"), you then go for a bigger festival. Festivals happen all year all over the world. It costs money to enter and there is no guarantee you get in let alone win anything. That said EVERY WIN OF ANYKIND counts. If its selection, or consideration or anything the festival sends you that can be put on a poster or box cover. It's all positive. You want these before you submit to CANN or SXSW or LAFF etc.
B. Distribution Film Markets - Have a Plan, it had better be in the budget. There are two options under this category.
One is to go to a film market yourselves as the producers/film makers and try and get meetings and sell the film
Two is to hire a Sales Agent. They will take money up front, and incur expenses at the festival and a % of the sale. Some of these guys are literal human vampires so keep your lawyer handy. Don't sign anything you don't read, and FOR SURE don't sign anything you don't understand.
RULE 6. Marketing What is the Plan?
Yup, just like other rules this one is connected to, well the other rules. Marketing can play a key part in your festival run and setting up a sale at a film marketplace or in getting you a good sales agent. You have to have a plan, you should have a movie poster, and a pitch deck, and (if it's a pilot) a series show bible. I suggest having a producer who works well with the director that will focus on this and the festivals/distribution plan. You can divide the labor up anyway you want, just keep that Marketing person in the loop. If the team your looking at joining has none of this, just like in the other steps you have to decide if it's worth your time, for the money they are offering.
Rule 7: Know what you want.
This is kind of the biggest rule, but is often the hardest. We all want the show that pays us top dollar and wins an Oscar with A list talent, distribution and financing attached. In 17 years in film, that has never happened to me. I got close last year but even then it was missing pieces. My point is, your gonna have shows that pay good but are led by people without the experience or talent to do the right things for the project. Can you handle that? Do you want to? Is it worth it? Yes, we all love film and want to go the distance, but life is only so long. Saying No is literally magic. Especially if you have a clear vision of the types of films you want to make. I strongly recommend that you do not take on projects that you don't love. 3x that's all you get. You get three shows to learn on that are not something you love. After that third show, you only learn what you don't know on shows that matter to you. Yes, it will suck more if you screw but you will learn faster and your resume will be something your proud of. It matters later. This is the piece of advice that I wish I could give myself. Only work on things you love, not things that show up because you are desperate.
With this post my procrastination comes to a close and I go back to applying these rules in real time to my own life. What do I want? To pay my bills and keep my soul. Yeah I know, I should have been a dentist.
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