Internet Marketing for Filmmakers

Marc Rosenbush is a filmmaker who like all of us works on getting his films marketed and sold. He has figured out ways of using the Internet to successfully market and sell his films to his audience directly. I think we can learn a thing or two from him. 

He too sees the value in teaching others about what he has learned. It takes years of experience and trial and error to figure out techniques that work in getting your films made and sold. 

Marc has launched the Web site Internet Marketing for Filmmakers and I've already watched a few free videos that are very helpful. For greater information, you can join a club and have access to even more marketing ideas. 

Check it out and see what you think: Internet Marketing for Filmmakers. Let me know if you find it useful!

And if you want to become a member of the marketing club Indie Film Insiders or take Marc's online marketing course Indie Film Launch Formula, you can do that too. Click on the names of the club or the course or click here to sign up. Good luck! And happy marketing!

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Mandatory Reading: Producers Struggle to Stay Productive

Every producer needs to read this article: Producers Struggle to Stay Productive. 

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Material Is the Nucleus!

Clint Eastwood was quoted this past weekend as saying "Material is the nucleus" at the Produced By conference here in LA, put on by the Producers Guild. I couldn't agree more.

Successful films start with a strong script. And a strong script makes your life so much easier when putting the project together. Talent will be attracted to it, who will in turn help you to attract the financing, which will lead you to an audience. And really, why would you want to put a lot of time, energy, and money into a poor script?

This is where the development process becomes a very important part of the film's journey. As producer, you may come across a script in which you see the potential for a strong film. It's very likely that the script is not production ready and you will need to take time with the writers and perhaps the director (if you have one on the project already) and help mold and shape the script into something that is sellable, both to talent and money.

As producer, you are the mouthpiece to promoting the film at all phases. You need to believe 100% in the quality of your film. If you are not sure if the script is ready then it isn't. Take the time to make it ready. 

Once you believe you have a script ready for talent and financiers, ask others to read it too. Get colleagues and friends who understand screenplay structure to read it. And seriously consider their feedback. It's easy to get too close to a project so get an outside perspective that you respect. 

You may even want to send it out anonymously for professional coverage, perhaps to 2 or more readers so you can get a few responses. Studios rely on coverage to weed out the good from the bad. If your coverage comes back and it rates the project as poor, then that is a strong indication that your project is not ready for the next phase. 

Remember, material is nucleus! You cannot build a strong, entertaining, sellable product around a weak center. Tootsie Roll is right. It's all about the center! 

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50 Ways to Describe What It Means to Be a Film Producer

1. You make movies
2. No one really knows what you do
   
3. Everyone thinks they know what you do
4. You are accountable for everyone and everything
5. You are blamed for everything
6. You get the highest acclaim
7. Everyone wants your credit
   
8. No one wants your responsibility
9. You are a CEO and CFO and COO
10. You are an intern
11. You make decisions
12. No one likes your decisions
13. You are a gymnast
14. You are rigid
15. You are a maverick
16. You are old-fashioned
17. You are a cheerleader
18. You are part of a team
19. You are an island
20. You are a leader
21. You are a follower
22. You are a writer, a director, a producer, a PA
23. You are a psychologist and sometimes psychiatrist
24. You are a storyteller
25. You are creative
26. You bring creative forces together
27. Your life is making movies
    
28. You are a master negotiator
29. You are a fighter
30. You are a financier
31. You are a Queen to some and a plebe to others
32. You make about ten cents a day for what you do
33. You don't do it for money
34. Everyone thinks you're selfish
    
35. Everyone thinks you're selfless
36. Everyone thinks you're courageous
37. Everyone thinks you're weak
38. Everyone hates you
39. Everyone loves you
40. Many look up to you
    
41. Many don't want to look at you
42. You have money
43. You don't have money
44. You make good movies
45. You make bad movies
46. You are fun to be around
47. People can't stand to be around you
48. You are a conflict in terms
49. You are human
50. No one wants to be a producer. They just like the idea of being a producer.

It's a tough job, but you do it because you love making movies. Hang in there Producers! Your work is valuable even if others have a hard time admitting it. I know what it means to be a producer and I value each and every one of you!

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Chain of Title for Your Film

As part of your deliverables to a distributor, you may be required to turn over the Chain of Title for your film. 

So what is the Chain of Title?

Simply, the chain of title consists of signed agreements giving you permission as owner of the film to use property owned by another person or entity in your film. These agreements are part of the chain of title of ownership back to the original copyright owner. 

For example, a screenwriter writes a script and owns the copyright to that script. The film company must then have an agreement with the screenwriter that proves that they have secured the rights from the screenwriter in order to make a film based on that screenplay.

Chain of title includes, but may not be limited to:

• screenplay agreement
• music licenses (both sync and master use)
• trademark clearances of products depicted in the film
• talent agreements, including rights to their work, image, likeness, and personality
• crew agreements, including rights to their work, image, likeness, and personality
• location agreements
• art releases
• E&O Insurance (errors and omissions insurance), which provides insurance to producers for any omissions in the chain of title (often secured at time of sale)

Without an adequate chain of title or E&O Insurance, you may be jeopardizing the sale of your film. More than likely, the distributor will require a proper chain of title and E&O Insurance and ask you to sign an agreement in which you represent and warrant that you do in fact have all the proper rights in place and hold them harmless to any claims of copyright infringement. 

Thus, it is important to take the time during pre-production and production to secure all the proper agreements. And it's wise to have an entertainment lawyer guide you through the process and create those agreements for you. Get that Chain of Title! 

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Running the Financials

My eyes are bugging out of my head from running the financials on our film Not Since You! There are so many deals and numbers to go over. Thousands and thousands of pages of paperwork to consult and compare to our tables and tables of figures. There's a reason I didn't become an accountant! 

On top of that I am prepping for a two-week shoot next month and I have the next round of a script to write from my screenwriting partner. And I am due to write 6 more financial articles! 

When it rains it pours! Now back to the grind for me!

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To Partner or Not to Partner, That Is the Question

There have been a number of people asking me recently if I think it's worth partnering with someone on producing a film. My feelings are pretty straightforward on this topic. I partner if the partnership helps me get a film made or it furthers my career to do so.

I have partnered on many projects, both in film and publishing. And I have a lot of opinions about partnering. They can be exciting and fun and inspirational, yet emotional, draining, and exhausting at the same time. 

Partnering often has me in a state of feeling bipolar. Some days are amazing. Others are completely frustrating. It's like when you're playing as kid and your best friend steals your toy. One minute you're excited and having fun with your friend; the next you want to knock her block off. 

I think the key to a strong partnership is really knowing and respecting your partner. But sometimes we don't have the time to get to know someone well as we are trying to put our team together on a film. What then?

• Trust your instincts. If your gut tells you this person spells trouble, well then I can almost guarantee, he or she will bring you a ton of sleepless nights. If you are okay with not sleeping then that is your choice.
  
• Get references. Ask if you can speak to others who have worked with him or her. Or do some digging on your own and get the scoop.
• If it's too good to be true then it probably is. I have had many experiences of people trying to sell me the moon but until the moon is on my doorstep, I don't believe them.
• Make sure you click creatively, unless you don't care about being creatively involved. 
• Establish specific tasks and what is expected of one another early on. 
• Agree on titles and deal points for each producer as soon as you know you want to partner. 
• Get Producer Agreements signed as soon as they are created. Don't let them sit and remain unsigned for lengthy periods. The more time goes by; the less inclined people are to sign. And then you end up spending countless, unnecessary time trying to get the agreements executed when you really should be working on finishing your film.

It may not sound like it but I am a fan of partnering. But I have two wonderful business partners in my company. And I count my blessings every day that I have them.

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