Directors Need Producers

Out of necessity or a desire to be part of the producing process, directors may take on a producer role in their projects. But, in my opinion, they should not solely produce their projects. It's important to have that other person who can relieve the director's brain of the nuts and bolts of the project and to have a sounding board for creative decisions. 

A director already has a huge responsibility to handle creating the visual story for an audience. Why hinder that responsibility with producing details? If I were a director, I would have a producer at my side at all times!! I would find that one person who gets me and build a lifelong relationship that carries me through most projects. Sure, I may go and work with other producers at times but I would find that one I can develop my own ideas with and build a mutually beneficial and creative partnership for the long haul. But that's just me. Each director may have different desires or needs, but each should consider having a separate producer who can handle all or the lion's share of the producing on a film.

A producer and director relationship is like a marriage. They are the ones in charge of the success of the film, both creatively and financially. They build the family on that film and make many decisions together. It's inevitable that arguments may occur but like any strong marriage, compromise is essential. Technically, a producer has final say but that should be reserved for only major last-resort situations. To be honest, I have never had to use my final say with any of the directors with whom I have worked as I have always tried to be diplomatic and compromise as have the directors.

When choosing a producer or director, try to find someone you can see yourself being friends with and who shares similar values on top of having a shared vision for the project. You will be spending years working together, day in, day out. You may even see him or her more than your spouse or partner. So make sure you like that person!

Looking back at the directors I have worked with, they all share common traits of being calm, intelligent, creative, and open to the opinion of others (while never compromising the quality of the film or their vision). And I love and respect each and every one and continue to work with them all to this day. I cherish my relationships with my directors. And I believe they feel the same. We lean on each other in this crazy industry and I know we help each other stay sane.

So I guess I have a "type" of director I like working with. Figure out the "type" of producer or director you like and search for him or her. Find a partner to share the load. I think you will find your work to be even more enjoyable and fulfilling. 

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Why Are Good Location Managers Hard to Find?

It's not like location managing is rocket science; so why are good location managers so hard to find? It's simple. Location managing is really exhausting work, without much glory, and takes a lot of attention to detail to do the job well. 

In pre-production location managers are driving day in, day out to various film locations and trying to find that needle in the haystack that offers the director, the right look, the producer, the right price, the DP, the right amount of space, and the sound mixer, the right atmosphere, and so on and so on. On top of finding the location, he or she must be a master schmoozer who can convince a nervous owner to allow dozens of people and equipment into their space and typically for not a lot of money!

Location mangers handle the negotiations and paperwork between the location owners and the production. They also interact with film permit offices, securing all the necessary permits for a film shoot. If the film has special needs, like shutting down a street, the location manager will also handle any necessary police escorts, etc. 

In production, location managers set up the location for handling the crew (i.e. parking, bathrooms, etc.) and they are the liaisons between the production and the city and the location owners and their neighbors, who are often annoyed by the needs and effects of a 25- to 100-person crew stomping all over their property. Location managers need a charm (and a petty cash budget to pay off the obstinate neighbor who won't shut off his or her stereo) that smooths over the ruffled feathers of those affected by the film shoot and have the ability to ensure the location is protected from the damage that people and equipment can cause. 

Most insurance policies still have a hefty deductible (like $3k) for damage to a location so as a producer, you will want someone managing the locations who shows concern for keeping damage at bay. And the only way to do this effectively is to have a producer and location manager who make the protection of the location a priority.

What I have described above seems like a fairly straightforward job description -- find, secure, and protect locations. It may sound simple but it's not easy. Location managers are usually the first on set and the last to leave (not leaving much time for sleep), and they are constantly dealing with needy, often angry, people and cleaning up after sloppy crew members who toss their garbage all over set each day. Did I mention location managers need to ensure the location is returned in good, clean condition? This includes taking out the trash, etc. 

And because location managing is a hard job, there are those out there who will try to make their lives easier when they hit the inevitable obstacles when locking down locations. I have heard stories of unscrupulous location managers forging signatures on location agreements (only to have it revealed on filming day and the production shut down as a result) or telling the production that all the necessary agreements and permits are in place when they really aren't (which really causes problems when you realize you don't have all the agreements for your deliverables when your film is ready to be sold). 

My advice is to try to keep copies of all the location agreements and permits on file in the production office prior to filming at that location so you are assured that all the paperwork is in order. You don't want to get caught without the right paperwork on filming day. That will cost you time and money. And once you find that good, reputable location manager, hang on tight and don't let go! They truly are lifesavers!

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Screenwriting Needs Development, Just Like Your Stories

I am a firm believer that writing in any form is a craft that needs a lot of commitment and hard work in order to excel at it. I don't believe it is something that is based on talent alone. Just like your characters, you as a screenwriter, need development.

It's wonderful if you find that you have a gift for storytelling and for writing dialogue, but if you don't work hard to develop your skills, you may not be achieving the success that your talent could provide.

Why go it alone and only rely on your talent to get you somewhere? Why not seek out the advice and training of others who have gone before you and been successful in getting their screenplays made into films. You have a lot to learn from these success stories. 

The kind of training that may be right for you may be university classes. The Independent offers a comprehensive list of schools with screenwriting programs. There are numerous seminars available as well. Robert McKee's Story Seminar is the most famous. Film Independent and the Sundance Institute offer very competitive screenwriting labs.

Another idea is to hire a screenwriting consultant. My brother, who is a screenwriter, decided he needed more guidance and put an ad on Craigslist offering $50/hour for a screenwriting consultant to help guide him through some revisions to one of his screenplays. He received a ton of response from screenwriting pros and found the experience worked great for him and the consultants (he ended up hiring two different consultants so he could get two perspectives on his work and loved the results).

If you have no money for training, perhaps a writing group would be a good solution for you. Being able to share your writing with others who can offer a critique of your work is invaluable. You may not agree with every note but, inevitably, you will find some thoughts that will truly enhance your story. 

Or perhaps you want to find a screenwriting buddy with whom you can both bounce ideas off and offer critiques of one another's work. However you decide to do it, keep developing yourself as a writer just as you would your stories. 

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SXSW 2009 Winners

Feature Jury Awards

DOCUMENTARY FEATURE
Winner – 45365
Director: Bill Ross
An inquiring look at everyday life in Middle America, the film explores the congruities of daily life in an American town Sidney, Ohio.

Honorable Mention – The Way We Get By
Director: Aron Gaudet
On call 24/7 for the past 6 years, a group of senior citizens transform their lives by greeting nearly one million U.S. troops at a tiny airport in Maine.

NARRATIVE FEATURE
Winner – Made in China
Director: Judi Krant
Lost in Shanghai, an inventor discovers that it takes more than a bright idea to succeed. 

Special Jury Award for Best Ensemble Cast – That Evening Sun
Director: Scott Teems
A ruthless grudge match between two old foes. Lines are drawn, threats are made, and the simmering tension under the Tennessee sun erupts, inevitably, into savagery. Cast: Hal Holbrook, Mia Wasikowska, Ray McKinnon, Walton Goggins, Carrie Preston

Audience Awards

EMERGING VISIONS 
Winner – Motherland
Director: Jennifer Steinman
Six grieving mothers journey to Africa in order to test the theory that “giving is healing.”

DOCUMENTARY FEATURE 
Winner – MINE
Director: Geralyn Pezanoski
After Hurricane Katrina, thousands of pets were rescued and adopted by families around the country, leading to many custody battles. Through these stories, the film examines issues of race, class and animal welfare in the U.S.

NARRATIVE FEATURE 
Winner – That Evening Sun
Director: Scott Teems
A ruthless grudge match between two old foes. Lines are drawn, threats are made, and the simmering tension under the Tennessee sun erupts, inevitably, into savagery. 

Shorts Jury Awards

REEL SHORTS 
Winner – Thompson 
Director: Jason Tippet
Since second grade Matt and Ryan have shared the bond of speech impediments, weapons, and things that go fast. But as their last days of high school speed by, the two friends find that their go-carts, dirt bikes, and RC cars can’t outrun adulthood.

Special Jury Award – Happy 95 Birthday Grandpa
Director: Gary Huggins
A fleeting memory in five minutes.

ANIMATED SHORTS 
Winner – Shaman 
Director: Luc Perez
Waiting for the bus on a rainy day in Copenhagen, the old shaman Utaaq sees a rare bird from his past. This makes him reminisce his youth, and a beautiful tale about the forces of nature begins.

Special Jury Award – Sweet Dreams
Director: Kirsten Lepore
A Stalwart cupcake escapes from his native land to discover what lies beyond the sugar skyscrapers and candy-condos. His violent shipwreck on a foreign shore forces him to adapt to a new lifestyle. 

EXPERIMENTAL SHORTS 
Winner – Cattle Call
Director: Matthew Rankin & Mike Maryniuk
A high-speed animated documentary about the art of livestock auctioneering. 

Special Jury Award – The Idiot Stinks
Director: Helder Sun
Animation, Angst, Media, Martians and Miscommunication.

MUSIC VIDEOS 
Winner – Thunderheist, “Jerk It”
Director: That Go-Noel Paul & Stefan Moore

Special Jury Award – Fleet Foxes, “White Winter Hymnal”
Director: Sean Pecknold

Jury Special Mention – New Pornographers, “Myriad Harbor”
Director: Fluorescent Hill

TEXAS HIGH SCHOOL COMPETITION 
Winner – Performance Evaluation
Director: Breannah Gibson

Special Jury Award – TIE
Fresh Fruit
Director: Edward Kelley & Brenden Cicoria

AND

A Hospital Bathroom
Director: Miguel Johnson

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Film Festival Secrets

Chris Holland, the director of festival operations at B-Side, lets you in on the secrets that will help you navigate the festival circuit with your film -- for free. The book is available as a download here: Film Festival Secrets. Give it a read. It's really helpful. 

B-Side is interesting too. Good to see sites that help indie filmmakers and platforms for playing the films survive and thrive. From the Web site:

B-Side is the leading technology partner for film festivals helping audiences discover films. With more than 200 film festival partners, B-Side can enable any festival to have a web presence that rivals the top festivals around the world.

We support festivals by providing cutting edge internet technology for free. The B-Side Festival Guide is an interactive festival schedule that engages audience members and filmmakers with social features such as ratings, reviews, recommendations, and blogs.

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A Producer Writing Specs

Writing specs may feel like playing the Lotto. Over time, you may spend a lot of time and even money (buying software and books, hiring consultants, attending seminars, etc.) and feel like you are getting nothing in return. You may not get a sale, but you will get exposure. And you will be getting much-needed screenwriting experience.

Just like any other skill, writing is improved by repeatedly doing it over and over. And though, I feel I am a better producer than writer, I try to write as much as I can so I can be a better overall storyteller. So as I am developing the projects I am producing, I am also writing my own scripts. If any get made, great! If not, that's fine too. I am investing in myself as a storyteller.

Not every producer writes. I enjoy writing so I make sure to include it in my own filmmaking journey. I also feel it allows me to enhance my development skills. How can I help a screenplay improve if I'm not increasing my own knowledge of what makes a great film? So if you have no desire to write, try to include the study of screenwriting in your own development as a producer or director.

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Optioning a Book for Film

Books make great source material for a film. There's a built-in audience, especially if it's a best-seller. And built-in audiences equal interest from financiers as it helps them to feel confident that there will be butts in seats when the film releases.

So, as a filmmaker, how do you go about securing the rights to make a film based on the book you have found? That's easy. First, you need to track down who represents the rights to the book. Typically, a literary agent will represent the book rights.

My first stop for figuring out who represents the rights to a book is the publisher. I contact the publisher and ask who the agent for the book is. Now, this can take a while and sometimes the publishers won't even respond, though I have found most publishers to respond in a timely manner. A film based on a book helps book sales so they are motivated to have a book adapted into a film.

If I can't figure out who represents the book from the publisher, I may Google the author and see if he or she has an Internet presence. If so, I will write the author and express an interest in his /her book and ask him/her for the contact information to the literary agent.

I will be honest here. Agents do not like it when you contact the author directly. But, if you have no other choice, you do it. And that personal touch with the author may help you win the option.

Once I am in touch with the literary agent, he or she is going to want to know if you have the money to option the material. And he or she is going to want an offer. Whether it's a dollar or $10k, they want an offer. I have not found any agent to ever quote me a figure. I am certain you won't get very far if your offer is a dollar and if that is all you can afford, you may want to stick to speaking with the author directly... I didn't say that!

So you made your offer and it was accepted. Now you need to draft an option agreement. It's best to work with an entertainment attorney on drafting a book option. They will help you craft the terms for the book and determine a proper purchase price. If you are too poor for an entertainment attorney, I am sure there are basic book option templates on the Web or you could ask a colleague for a copy of one of theirs and craft your own. I don't recommend this course of action, but we're all indie filmmakers here and we know sometimes, you just have to do what isn't recommended all in the name of making movies!

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