Myth o Truth?
Hallo,
I've read it on a number of sites that for Indie Producers, the the focus never is on who the lead is in a film but how the audience will receive the story.I'm not sure if that is true but I'd like to find out. I'm a screenwriter, a good one, and I'm looking for an indie producer to network with. Call it professional networking. It's one thing to need a good script and quite another to get one that effectively satisfies your needs. Call it a professional relationship that could grow because if audiences get to prefer great stories to famous actors then the future is definitely Indie movies. If we share the same ideal, let's help each other.
I've read it on a number of sites that for Indie Producers, the the focus never is on who the lead is in a film but how the audience will receive the story.I'm not sure if that is true but I'd like to find out. I'm a screenwriter, a good one, and I'm looking for an indie producer to network with. Call it professional networking. It's one thing to need a good script and quite another to get one that effectively satisfies your needs. Call it a professional relationship that could grow because if audiences get to prefer great stories to famous actors then the future is definitely Indie movies. If we share the same ideal, let's help each other.
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Replies to This Discussion
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Permalink Reply by Eddie Conna on -
If you want to SELL your finished project, you better have SOME names in it. The sad fact of the matter is, the FIRST thing DISTRIBUTION cares about is WHO IS IN IT. Why? Because that's what they use to sell the project to the public.
Now let me be clear, I don't totally agree with that position, but I do understand where it's coming from as well.
There are always exceptions like "Blair Witch" or "Paranormal Activity" but they are the VERY RARE exceptions to the rule.
If you want to increase your ODDS of selling a finished project, then having a recognizable face and name or two is important.
It's a fine balance.
Sadly, without a name in a project, there's far less chance an audience will ever even SEE the story...
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Permalink Reply by E. Ajax on -
I'll take note of that Eddie. Thanks for the tip...I just guess some people have got it all wrong. Only to get a recognizable face onto a project when you're starting out would be kind of expensive. Real bad for starters...
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Permalink Reply by Eddie Conna on
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"Only to get a recognizable face onto a project when you're starting out would be kind of expensive."
Not at all.
In fact, if you do it the RIGHT way, you can get great, recognizable talent that's willing to work for scale plus a back end. It's done all the time.
It's all in how you go about getting the talent.
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Permalink Reply by E. Ajax on
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How do we do it? I mean barely a week back, I pitched a script to a producer and he said he'd be willing to assist with distribution, if I was ready to shoot the script I had pitched, myself. Quite frankly I didn't have a ready cast, being away from home and all...so I let it pass. But supposing in future that such an eventuality should occur, how do I get real..talent not friends or starving amateurs to bring the film alive?
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Permalink Reply by Eddie Conna on
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There are a number of ways, and it's done all the time. This is one of the things I can do, and have done, and that I bring to the table when I'm hired as a producer.
Where are you located?
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Permalink Reply by E. Ajax on
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Boston's my hometown but I'm not at home at the moment. Complicated issues...
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Permalink Reply by JD Scruggs on
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Hi all,
Just my two cents here, it is only what I know or have learned, if you have any additions please give them.
First, pitching is fine if you are established, you have sold something, had something produced and distributed, or are on the ins with someone with a check book. Otherwise for your first real film, not digital video, not short, real film, you are not going to get someone to fund your first or second production. They will not take the risk on you, and you take no risk except for some typing and sheets of paper. Sorry it is not going to happen. You need to find others that will take the risk with you.
If you’re a writer find a director, if you're a director find a producer, get a team together and sell the package to investors. Point of this, GET A BUDGET! Now for a name. One trick to use, and of course it all comes down to the script, but try to have a roll that only requires the actor to be on set for a half or full day. Call around to casting directors and tell them you want someone, ANYONE, who is a MOVIE actor for a half day and offer what you can. Now you never know who you will get, but could be a big surprise, might not, but you will have a NAME.
Now take this to the next level, try to find out who the casting director might be able to get, and build your schedule around their availability. Kind of a pain and very tricky, but you might just be able to get a list of great names to pick from, see who is in town and coming off of a shoot, or in between projects.
Go to a video rental store, look at all the bit players that keep showing up on the movies, can you offer them more screen time, more dialog, a roll that they will like? Day rate. Work with the casting directors and see what they can offer as far as doing some of this for you, now you see why you need some kind of budget, pay the casting director, even something and you will get a bigger bang for your buck then if you do it all yourself.
Another option is local radio personalities, or newscasters. See if you can get them for a day might even be able to get them for under scale or the cost of pampering on set, get a GOOD PA for you name!
Yes, this is done all the time, even a decent name will take a grand for the day if it is convenient for them, barring of course guilds, make sure you know what you are getting into and not going to get stuck with a huge bill when and if you get a distro deal. As far as those other little no budget blockbusters, exception to the rule, yes, but be careful not to buy into the hype. Funny how there is always a no budget underdog that sweeps the box-office every year. Remember Alice and the rabbit hole?
JD
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Permalink Reply by Eddie Conna on
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"Boston's my hometown but I'm not at home at the moment. Complicated issues..."
Not to get into the issues, but if I might make a suggestion. On your profile you should list WHERE you are. Yours says "Kenya" or something like that, which might make some people think, "ah, he's on the other side of the planet, no since in trying to get in touch with him..."
If someone is shooting in a particular location, they should list that as well.
BTW, I'm originally from Mass myself. Live in LA now.
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Permalink Reply by Eddie Conna on
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"Otherwise for your first real film, not digital video, not short, real film, you are not going to get someone to fund your first or second production."
Not so sure all of that is 100% accurate anymore. Digital isn't viewed the way it was even just 3 years ago. Major TV shows are using it, and a number of hit movies have used it as well. So you don't have to use "real film" and frankly, unless you've got at LEAST $300K or more, I wouldn't even consider it.
Film simply costs a LOT more, and if you're doing something that will likely go straight to DVD, there's little point in using film.
That being said, you are correct in that you're not likely to get someone to fund your first film, or your second for that matter, (or likely the 3rd, and 4th) UNLESS they are a private entity that you have some direct connection to. (ie, your uncle is rich and you're his favorite and he feels like giving you $200K to shoot your movie.) The exception is when you make a film and it becomes a huge hit.
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Permalink Reply by JD Scruggs on
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Hi Eddie,
I will agree, probably needed more clarity. Whether it is actual film or shot on the red, you can work with it. I personally am unimpressed with anything less then the red. Again for any early projects the more you pigeon hole your production the less markets you can attract. A lot of the same tricks that can be used to produce film can be done with the red to reduce costs. I am still in the the habit of calling a viable project "film". Point was get a budget, and paly with the resources and get any "NAME"
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Permalink Reply by Eddie Conna on
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I've heard mixed reviews about the RED. When it works, it's great. I've also heard disaster stories of the camera going down, and people loosing a LOT of shoot time.
Also, from what I've heard, you need a technician on set when using the RED to deal with that sort of stuff.
There are enough digital cameras that, with the use of an adapter, can use film lenses...
So the issue is having a decent digital camera with a good set of lenses.
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Permalink Reply by JD Scruggs on
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Just came off of a shoot with the Red, and yes, better have someone who knows what they are doing with the files and storage. We lost about 2 hours with the reshoot and setup because of lost files. Fortunately I was only electric on that shoot.
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