Viral Video and the Shift to Consumer Control

A big shift is happening across all media. Now consumers are in control.
They can choose to watch whatever they want, whenever, and on whatever device. This shift in power to the consumer can be unsettling to brands.  The traditional model with broadcast media enables a brand to get more "airtime" if they spend more.  But with consumers in control to choose, they will naturally gravitate to the highest quality or most "viewable" content. 

Interview with producer Graham King "The Rum Diary"

Splitscreen: A Making Of - Part 1

Splitscreen: A Making Of - Part 1 from JW Griffiths on Vimeo.

Head of Lionsgate Joe Drake

Joe Drake delivers a five part presentation on indie film financing.

Film Funding Part 2: The definitive introduction to film funding with Bianca Bezdek

Facebook Marketing: The Key to Independent Film Marketing?

Facebook Marketing: The Key to Independent Film Marketing?

Click on the title for a link to the full article.

Film Funding 101

Film financing is one of the most difficult and least understood challenges facing a producer and it is fraught with perils for the unwary. Many independent film producers find themselves caught in its legal and financial morass. Given that most film producers do not want to use their personal assets to fund their films. The most important issue for many producers is how to finance their film project with OPM (other people’s money).

The methods of financing film projects are as diverse as the film projects themselves, the most common ways being; “debt” (borrowing money); “equity” (selling membership interests); or a combination of both (a production support agreement). If the producer has a track record of successful film production, then additional sources such as “pre-sale” of film distribution rights or studio financing are available. There are also producers who merely package a project and assign the rights to another, better financed, production company. However, for most independent producers film financing is limited to debt and equity.

Financing a project with debt is that such agreements require the payment of a sum-certain, with interest, on or before a specific date. 

The other major source of funds, equity financing, is problematic because a securities offering memorandum and full disclosure is required under the securities laws and notice filings are required by the federal Securities and Exchange Commission (the “SEC”) Violations of the SEC requirements and the applicable Blue Sky Laws carry both criminal and civil penalties.

http://en.wikipedia.org/wiki/Blue_sky_law

A business plan IS NOT a Private Placement Memorandum. A business plan and a securities offering memo serve very different functions. In order to safely comply with these laws, a producer should work with an attorney who is familiar with both entertainment and securities regulation.

The following is a summary of some of the issues that arise when preparing a private placement investment offerings 1. No General Solicitation. 2. Accredited investor requirements . 3. Disclosure requirements. 4. Filings.

For more information on SEC filings;

http://www.sec.gov/info/smallbus/qasbsec.htm

As you might expect, an essential part of any request for financing is for the producer to develop a credible budget and production timeline. Without both of these documents, prepared by someone with experience in film production, the producer should not undertake any serious fundraising.

So, how do you solve the Producer’s Paradox? One possibility is to start with a short film. The technology is the same and the logistics are the same, just in micro. Work up to a feature film project. A short is far less expensive, allows you to develop an understanding of the difficulties you will face with a feature film, allows you to develop relationships within the industry and it can become a calling-card for potential sources of funds.

Writing better scene description

RED Scarlet

Directing, Some Times Less is More!

Howard Hocks said something to the effect,

 "To make a great movie you need three good scenes and no bad ones"

Most beginning directors think directing is about control. 

That is completely wrong!

Directing is about responding.

Many times it is about what you don't do, than what you do.

It's about being present in the moment. Being able to respond in a fluid manner.

To the feeling of the scene, the location and what the actors are doing.

You don't need to have all the answers. Ego and Fear are the enemy of story telling. 

Intuition can be a valuable tool. Between your head and your gut, Go with your gut.

You should know what the hart of each scene will be. If you have that clear in your mind it should not be difficult to organize your shots around that concept.

It will also give you a good idea of what scenes are essential to your story, 

You never have enough time to get every shot you want. If you know the hart of each scene you will be able to allocate the lion's share of time to getting your essential shots.

Your gut should tell you when you have it right.

By no means am I advocating a lack of preparation.

Preparation is essential and becomes more so as your production budgets grow.

Never come to the set with out a thoroughly prepared shot list. 

But be flexible enough to deviate from the shot list if warranted.

At the very least, you will have a fall back plan if nothing develops organically.

Being prepared and knowing your time constraints, will give you the confidence and freedom to let chemistry develop.

Regarding actors, again less is more when dealing with actors.

Most beginning directors commit the cardinal sin of "over directing" when communicating with actors.

If you distill your job down to the simplest equation most of the time there are only two things you need to concentrate on. 

Protecting the actors ego and keeping them focused on the important elements of the performance.

If you can do this your actors will feel safe enough to take some risks with their performances.

Over-rehearsing can also be problematic in film.

You should not rehearse as though you are doing a stage play.

You don't want your actors performance's to peak before you get them in front of the camera.

In the end it's about catching magic light in a bottle!