Script, Bible, Deck....the holy trinity of producing.

 

This picture is a slate from the show Shameless. It was a back up used for one of the other cameras and not one of the big digital slates/ clap boards. Someone stepped on it by accident and I grabbed it before the AC could throw it away. It's been a goal of mine to see my name on one of these on a show that I am the showrunner on. 

So how do I go from here to there? 

Script - Bible - Deck

The three most underused things in indie film. Especially in creating a TV show. I can't tell you how many pilots I have heard people pitching and they only have one of these done. It's never a show bible. It's usually a pitch deck if the person is not a writer. The deck is usually pretty bad. If it's a script and a deck that's the most common actually but even that is kind of Meh. 

Ok lets back up. What are these things?

Script: " A movie script is a written document that details all of the narrative and visual elements for a feature-length or short movie. This document includes very specific formatting, namely action paragraphs, character dialogue, and in some cases, visual and sound cues." This definition is taken from https://blog.celtx.com/what-is-a-movie-script/. That's Celtx.com which is the screenwriting software that I use. 

Show Bible: " A show bible is a document that outlines the characters, plots, settings, and themes of a television series. Writers pitch show bibles to network executives and production companies in the hopes that it will procure a production agreement. Once the show is "picked up" and turned into a series, this show bible becomes a living document. It is modified as the series goes with new characters, new information and background details, etc." This quote is from Studio Binder. 

Pitch Deck:  "A TV show pitch deck is a visual presentation that outlines your show's concept, often accompanied by a TV series bible. It's a key tool for persuading networks or producers to invest in your idea, showcasing your vision and potential." Generic definition from a Google search. 

Every idea, every script, every time. This is the habit that all of us SHOULD be cultivating. Everyone that is not in a major film market city, this is what people who ARE getting shows made are doing in LA-NY-ATL-VA are doing. Chicago likes to think of it's self as the 5th film marketplace but I don't think we are. If we learned to do this, if we actually did it and tough it to other film makers in Chicago it would change everything. We would become a pitch market. People would actually take us seriously. 

Whatever, I am doing it. I am gonna prove it, by practicing what I preach. I have an award winning script, short version, feature version, and Pilot version. No excuses, LETS GO!

Free Lance Producing here I come, again....

  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. 

TV show intro Music, creative Headspace, Writers Room

 https://www.youtube.com/watch?v=62ta5ZzrRnA

DJMASK000

This post is mostly about writers rooms and showrunning from a creative producer standpoint. Some things that I want to share with people. The link is to a YouTube that I found that has this loop of House of Cards, Newsroom and the Madmen intro's. Those songs all get me fired up and thinking about producing/creating stuff. 

Creative Headspace:

I like to intentionally create a time and place for my writing. I create rituals around it and massage my process. Often this means letting ideas ferment and not writing them down until I have my appointed writing session time. The point is, I CREATE THE SPACE and TIME for my mind to just focus on an idea. Sometimes this is just a notes session, sometimes it's dialogue or a universe deep dive. Maybe one really cool plot point. No ideas or notes are wasted, your creating your foundation. 

Running Writers Rooms:

What I have learned from my last three writers rooms in which I have been the most experience head writer and usually showrunner/ CO - EP

1. A writers room has to have a structure. 

    You should have a list of what needs to get done, ideally that is written down and everyone has a             copy. If not that's ok, it should still be in a general idea folder in your mind. Eventually it will have         to be written down and mapped out of course but the first stage is to get the room going. 

    It should be a loose flexible structure that allows the people in the room to create. 

    Ideas are just ideas, good or bad consider everything seriously and keep it fun. 

    Keep the goals for the group in mind. Let them riff for a few minutes then go back to something that      still needs to be resolved or considered. When you do this, do it in a pause. DON'T EVER STOP            THE FLOW if it's resolving plot. 

2. A writers room must have trust and respect.

    No matter who is there, why they are there, START from a perspective that everyone there could            have a great idea. That's what writers rooms are about after all, ideas. Let other people have them.        Don't worry about you getting yours in the room. Keep it flowing and positive. Trust that you all            have a creative space together, that your there for a common goal of creating something, together. 

3. Curate the room before hand. 

    For Number 2 to work you must, MUST carefully construct the room of people you write with.            Sometimes you get thrown a curveball of a person, that's ok. Allow it to breathe for a few rounds of        ideas before you make any changes in staff once they are in the room. They might surprise you. Error     on the side of keeping people in the room if your not sure. Remember that list? That's your guiding        light in this case. All of that said, invite slow, uninvite fast. Bring people in carefully, get them out(if     they are damaging the idea's flow) quickly. 

Here is a crazy typewriter microphone in a whiskey glass AI image, Write & Drink Radio Podcast 

https://www.youtube.com/channel/UCaAd1nZjjqMOyBtqTILZgCA

That's all for now!

Three year Run

 Right around 3 years now since my last post. Obviously a bunch has happened. I am going to focus this post on the current state of things and the most recent set of producer lessons that I have learned. 

Producing seems to be a constant master class in getting your ass kicked and not giving up. It's one of those things that you never truly master, it's a lifelong journey kind of thing. Only, that's not 100% true. 

In this post I am going to jump between film and episodic series formats, they are different and represent very different goals for me. Series or what used to be known as TV is something I very much want. I want to be a show runner for something I created. 

I am looking at 4 awards on my wall for that's projects script and I know that work still needs to be done. I have hope about this project but much less momentum than I should. It's in the Cyberpunk Genre and will come to either be a tale of caution or redefine the genre. It's actually a CyberUtopia piece but nobody says that so I have to explain it every time I do. The reason I bring this up is that this is my goal. To create this show for as many seasons as I can get out of it. But first I am going to recap what I have worked on since my last post. 

These are not in order since I am not going into detail about most of the shorts, live events, music video's or commercials. 

Since my last post: I have;

1. Directed a Short film [Proof of Concept] for my Cyberutopia/Cyberpunk series. 

        Project Status - I am making great strides in the post which I have now taken over the bulk of the            edit. I couldn't be happier. It is looking really really good. 

2. Produced multiple short films, gotten some EP credits, one Co-Producer Credit. 

        Project Status -  all of these are finished and either published to the universe or are out of my                hands. 

3. Post produced a documentary mini-series

        Project Status - Looking for a Buyer. Final Deliverables for the Sales Agent. 

4. Produced a $200k+ Test shoot using a digital wall and a 35 MM film camera. This was for a $3.5 to $5M film with a Oscar Winning Actor attached. By far the most prestigious thing that I have worked on as a Producer. 

        Project Status - The project was set to move forward after the test shoot then the strike shut                    everyone down. I don't know were things are currently and I do not expect to get a phone call. 

5. Started 3 companies that all contributed to a 4th company that are all in the film/entertainment/tech spaces. This is a massive undertaking and has many pieces. It takes up a good chunk of time. One of the companies I am running all of my digital content through including Podcasts (We have 4 shows in production currently). 

        Project Status - A VC firm is aware of one of the companies and is only waiting for a pitch deck            from me. We pitched one element and they said yes upon seeing a completed pitch deck to a $500k         award. 

A smattering of other projects that I have consulted on, written, writers rooms, produced on etc. Some Production Design work as well. 

That's the short version of the last 3 years. Its been fun. 

Thinking back on this it's actually a lot, and a pretty successful run if I do say so myself. 

Fight for your right, TO BE PAID!

 Yes I have worked for free, yes I donate my time to passion projects. Yes I donate resources and cash to passion projects. That does not mean that I owe ANYONE those things. Especially multi-million dollar productions that I have personally raised thousands of dollars for. 

My entire career I have heard about producers making legit money. How this is the level at which everyone gets paid. Yet here I am airing out the frustration at the obvious. You still gotta fight to get the basics. People are still trying to get me to do a lot and give me less. People are still trying to put out how much they are sacrificing how much they are the victim of the film "system" and how much I should really donate my time, Rolodex and skill set. Trying to use the guilt lever that EVERY SINGLE INDIE film I have every worked on uses. Also yes, I have used this myself in trying to get things donated....when my budget was $500.00.  When the budget is closer to $5 Million then this is a ridiculous notion. Especially when specific promises have been made. 

So why do I still feel like somebody is gonna say that I am a bad _______ for fighting to get paid? Because it's probably happening. For sure the comment is being framed as being "hard to work with". The problem with this is....this time I represent the money. But mostly, after 15 years of donating work, and "falling in love" with projects only to get stiffed in the end...I don't want to make the same mistake again. This time, it's Covid-19 and I have a family. This time the whole thing falls apart if the people I represent don't get what they are supposed too. I am very grateful that none of this is coming to that. That none of what is happening is sinister, that it's just hard. The people I am negotiating with are good people and we are going to get paid. It's not malicious it's just how it goes sometimes. I have been on the other side of this fence many many times. The one thing I always note to myself when paying someone out after a difficult negotiation is that I need to remember the tenacity of how those people fought to get paid. That I should do the same for myself and more often. 

Every Film Maker, Investor, Grip, PA, Accountant, Executive Producer, Background actor should get paid for contributing, every single time. 

When it doesn't happen it's unfortunate, often tragic. It's also not always the fault of the Director/film maker. Usually it is a situation out of their hands. Which is why you never should feel bad about fighting to get paid, you might not get it, but you should always fight for it. Really, the producers and especially the film makers WANT to pay people. Films are expensive, the industry is top heavy, and this whole process is difficult. Patience and a firm resolve are necessary on both ends of this process. This post is gonna be short but it's a necessary conversation about how this negotiation isn't just for the Indie Art Directors and Sound Designers....Producers at the multi-million dollar level are still dealing with the same stuff. Work those negotiating muscles early and often, your gonna need them later. Believe, everyone else at the high levels are doing the exact same negotiations that are happening on $500.00 music video's it's just more money. 

Stay frosty. 

Building a Slate of Films

 So here is the post I eluded too in my last post. 

I had a conversation with a potential investor/connector and I was told that the "ask" was too small. "Ask" is just a short hand term for "the amount of money you are asking for".  He basically told me that the investors that he represented would not see a significant enough return on investment to have this investment be worth the time it would take to set the deal in motion. It makes sense if your used to moving around large chunks of millions of dollars. If you think about it, you or I wouldn't do it either. 

The long and the short of it is a slate of films packaged in the millions of dollars was ultimately discussed and I have begun to put this together. This was suggested too me. Which has never been offered or suggested before. Naturally we started with a slate 3 years ago when this project first came across my desk. Nobody then was interested. It was "too much money". 

So now, I am definitely taking projects...packaged projects only. I will break down what that means and why. This is real and happening right now, the funny thing is. Not many people read this blog so I don't expect to get a single submission. If you have a packaged film send it here.                                              [ steelphoenixchicago@gmail.com ] This is a specific email for this. I will see it and begin the VETT. Must include contact info. No contact info it gets deleted. Put "Film Slate Consideration" in the subject line. 

 

A packaged project: This is a project that has a good script (not necessarily a great script), that has people attached. So that means, at least one producer that has produced more than one feature length film from beginning to end. This producer should be contractually attached and ideally someone who has worked with $500k budget or more. The higher the budgets they have worked on the better. The writer can be first time but it is better if they have credits under there name. THE DIRECTOR MUST HAVE DIRECTED AT LEAST ONE FILM OF FEATURE LENGTH THAT GOT DISTRIBUTED. You must also have at least one actor signed on that is some sort of name. 

The variations to this are if you bring in one or more people that are a strong name. So if Aaron Sorkin writes the script and Johnny Depp wants to play the lead you don't need anybody else. If the director won at Sundance or another major festival it can help with the producer not having as much experience. But in that situation you would want at least a B-named actor attached. 

What will not be considered. 1 sheet ideas, 1st draft scripts, pitch decks with only no names attached in the above the line section. I can't even submit these things for myself. Keep in mind, anytime your submitting to a producer who is also a film maker that your ideas and projects are actually competing with that producers ideas. (I started doing this to make my ideas, just like you). You cannot expect studios or major production companies to look at your "great idea" when they are full of people that already work at those places who are trying to get there own ideas made. You MUST BRING SOMETHING TO THE TABLE THAT THEY DON'T ALREADY HAVE.

It took me forever to understand this, I really had to see it for it too click. If you don't have this yet, go work indie films. Start with what ever will take you, and work your way up in terms of budgets. $50K shorts that need a locations person. Then jump on $110K short as a Associate Producer, or whatever you can get in the producer world. This also works if you want to be a director but really if that's what you want you need to be directing as much as possible. 

Ok that's basically it. You guys have a good day out there and don't ever give up. If everybody knew what we knew about film they would all be trying to do it! Stay in love with the process and keep growing. 

The Final Round of Financing and Distribution Model Changes.

 The Final Round of Financing

and Distribution Model Changes

Usually what happens is you get most of the challenges in your capital raise for a film in the first round of equity investment or whatever financing structure your using at the beginning of the fund raising journey. Let's be clear, this project had that, it took three years in fact to get it where it is now. Not actually that unusual. Right now at this moment we have literally millions of dollars in the bank, name actors signed and a major relationship with a Digital distributor. So no, before you ask we did not get cough in the pre-sale theatrical window nightmare that most of the rest of the indie and blockbusters this summer got stuck in. #Covid-19 new normal 2020. We actually have been able to raise over $1million in equity during quarantine. 

This was so impressive to one investor that they offered me money to do something else, that I will put in my next post. 

The issues with this final round are unique because of covid, and the shake up in film/financial markets. It has both good and bad aspects too it. People are worried so they are hesitant to invest, BUT people are also looking for new ways to diversify and our model has very low risk. 

We (the team following our lead producer/director) came up with a distribution model that makes more sense and ... I can't talk about it. I know I know, what's the point of reading the blog if I can't talk about it. 

What I can tell you is where the industry seems to be going from my perspective. We have $1 million left to raise in one month and I think it will happen. What I am seeing is new business models in which the waterfall of film financing is getting rid of major sections of the in between people that eat into profits, dilute the process, and very very expensive. 

Part of this comes with the Studios finally giving in during covid and saying "Ok we get it, we live in a digital world".  Which means digital content which means the 100 year old contracts with the movie theaters and distributors is changing. It means that all the people in the middle of getting a project into 20 different kinds of producers whom the question "What exactly do you do again?" could be applied aptly. They don't raise money, they are not the studio, they don't run production, or post production and have no part in distribution except when the box office comes in. 

At Sundance in 2015 we took meeting after meeting met with this person and that person who had no interest in actually helping us with our project. But they could connect us with important people that could. It was bull, all of it. NOT ONE SINGLE LEAD FROM SUNDANCE in 2015 worked out the way that it was presented to the team I was working with at the time. What did happen however is I met a whole bunch of people that are not financing, distributing, or making films. Many of them have huge mansions in Park City, some have mini-festivals associated with Sundance, some have great parties, some have great resume's and are looking for a job. Nobody that I saw was a way to finance, cast, make and distribute a film. Now that said, if we had a packaged film, with a NAME or TWO attached and our little $50K first in then maybe it would have meant more. Maybe we could have gotten somewhere. But we went with two no name directors, very little money, and two films with zero actors attached. We...well in the end "I" got crucified. One of those films turned into another film and has been in post for two or three years now. The other got made with name actors and real money....and has not been released and its been two or three years now(I think it might have gotten stuck in the covid theater trap I mentioned before). The point is, even when everything comes together it was still "a tough row to hoe". 

What I see know, what I am even honored to be apart of now, is a different process. One in which much of the "middle man" issues are streamlined. The process is not only a lot more painless but it actually makes a ton more sense. Trying to explain the 50/50 traditional split, and how it actually works to investors was complicated and frankly embarrassing most of my equity network in Chicago is made up of high finance, or business professionals and it sounds like a bad deal every time I said it. Its a really really shitty business model, especially for film makers and investors. And yes it is absolutely the Distributor/Theater relationship that is to blame. 

Did you guys read the trades this month? Not sure how many articles talked about the new business model in Hollywood but it is great great news. Tried to link it but this computer having Technical issues. Look at the Hollywood Reporter and Variety. It should be out there, sorry for tech issues. Will post it when I can. 

OK, so now that your all up to speed lets look at the financing we need to get. Lets say for instance we need to cover some additional costs caused by Covid and flesh out our budget for some possible added shoot days. Just giving the creative folks some more space to do what they need to do. Maybe we through in a drone unit, just for some coverage. 

Lets say we have $3 million in the bank (No these are not real numbers, I literally am never going to tell you the real numbers of a project I am working on. Yes, it's in the millions of dollars on this one.) 

We need a final million. We get $300,000.00 from people that are already invested and a little bit from a new party. Now we are at $700k. But all our usual folks are tapped, our Roladex(list of people who have money) is either already in this or has already passed. We have gone back a re-approached the people who have passed and they passed again. 

The film has everything, in place, and is going to shoot and be distributed. That part is pretty well in hand, and the tax credits and everything else is buttoned up. We are fill swing into production in less than 30 days. 

Armed with all of this, we, have to open new fresh leads. Raw completely blind leads. It's good for two reasons. 

1. It's new leads, which expand our investor base and help diversify the investor pool  

And my personal favorite ...

2. It's uncomfortable. That's right, going after new money is uncomfortable. It's tough, you have to find people who have money and are willing to talk to YOU (in this case me). Not in person,(remember it's covid, and in the US a bunch of civil unrest. Everyone is freaking out about politics also) so the old tricks of going golfing and going to a country club, or associating where rich people are might now be enough. More than they normally are not enough, lol. This probably has to be done entirely digitally. 

I have a plan and when it's done I will definitely share if it was successful or not. The methodology may kinds become trademark so well see in the process. I wish all of you well, don't forget to be kind to yourself and trust the process. You can do this, until next time. 

Break a Leg!