Three Cheers to Jeffrey Goodman's Success

Let's give a round of applause to Jeffrey Goodman for his first weekend's success in self-releasing The Last Lullaby. Here is a link to his blog at MovieMaker where you can read about it.

I love it when people take the bull by the horns and contribute to their own success! Keep it up Jeffrey! Here's to much more success with Lullaby.

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Okay, Wine Lovers -- Best Job Ever!

Alright, this sounds like the best job ever, if you love wine. Oh, and I do! But I can't move to Sonoma for 6 months but maybe you can. So go for it!

Here's the deal (and a link to the Web site here):

We at the Murphy-Goode Winery got to thinking about the new age of communications and we figured it was a pretty good thing. So to get going, we’re looking for someone (maybe you) who really knows how to use Web 2.0 and Facebook and blogs and social media and YouTube and all sorts of good stuff like that — to tell the world about our wines and the place where we live: the Sonoma County Wine Country. 

In exchange, we’re offering you a “Really Goode Job” — a six-month job paying $10,000 a month plus accommodations! 

We want to hire a social media whiz (your title will be “Murphy-Goode Wine Country Lifestyle Correspondent”) who will report on the cool lifestyle of Sonoma County Wine Country and, of course, tell people what you’re learning about winemaking. 

Did we mention that the compensation was $10,000 per month Plus accommodations in a beautiful home in picturesque Healdsburg, a popular vacation destination in our neck of the woods. Working hours are flexible. And all you have to do is experience wine and good living, and then tell people about it. (Do you play Poker, or Liar’s Dice? Don’t worry; we’ll teach you.) 

You (we hope) will become part of the Murphy-Goode crew — for six great months.

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A Legendary Agent Dies: Sam Cohn RIP

I have a soft spot in my heart for legendary ICM agent Sam Cohn. He passed away this week at the age of 79. Here is an obit at The Wrap.

Cohn was known for representing legendary talent as well. He had no reason to help an indie filmmaker like me. But he did. He repped Paul Newman (R.I.P) and at one point, we wanted Paul Newman for a film we were packaging. Instead of ignoring our submission, which he could have very easily done, he was very responsive, kind and took our submission seriously. When Mr. Newman passed on our project, Cohn called right away and gave a reason and thanked us for considering him.  

And that means a lot. 

Competing against the big guns every day for the same talent often means no return phone calls or emails or excessive delays or even no responses to submissions. So for Mr. Cohn to take his precious time out of his day and work with us (who could never compete with the salarys the studios offer) was a wonderful thing. Thank you Mr. Cohn for giving an indie filmmaker hope! Rest in Peace!

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Sloan Science and Film

I've known about the Sloan Foundation grants to filmmakers who make movies featuring science and technology, but today was the first time I've been to Museum of the Moving Image's Web site where they feature the Sloan Science and Film. I thought I would share. 

From the Sloan Science and Film Web site: 

Sloan Science and Film is a website devoted to exploring the intersection of science and film, and enhancing the public understanding of science and technology. It features award-winning science-themed short films that have been supported by grants from the Alfred P. Sloan Foundation, videos of discussions with filmmakers and scientists, news about the Sloan Film Program’s awards and activities, and original articles exploring the cinematic depictions of scientific ideas and the portrayal of scientists and engineers in film and television.

It's a pretty cool place to see work from some interesting artists. Maybe you will find your next director there!

More on the Alfred P. Sloan Foundation: 

 
The Alfred P. Sloan Foundation has been giving production and screenwriting grants to filmmakers since 1997. The Sloan Film Program, led by Program Director Doron Weber, supports the creation of realistic and entertaining stories about science and technology, many of which challenge existing stereotypes about scientists and engineers.

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The Imaginarium of Doctor Parnassus to Be Sold Early...Hmm

So the Hollywood Reporter features an article today about how the filmmakers and U.S. producer rep Cinetic Media have decided to try to sell the much-anticipated Terry Gilliam film The Imaginarium of Doctor Parnassus prior to its premiere at the Cannes Film Festival. Hmmm. Very interesting. 

The Imaginarium of Doctor Parnassus is the last film Heath Ledger was working on prior to his untimely death. A group of well known actors, Jude Law, Colin Farrell and Johnny Depp, took his place in the film that is now being released, a year after Ledger's passing.

With such name power and buzz prior to the Cannes premiere, one would think the film would have a chance for a strong sale after (or during) a festival premiere. In fact, that has largely been the model for selling independent films in the past. Capture a slot at a major film festival, build the anticipation, fill the theater with acquisitions execs, and let the offers roll in. 

Well, that model of releasing at a top festival and creating a bidding war has all but vanquished due to buyers taking less risk on indie fare. There have been too many losses on the films purchased in this fashion and buyers are still licking their wounds and a number have never healed from them. 

So has Cinetic Media started a new, more profitable trend on how to sell independent films or perhaps a new trend on how to sell problematic films? Could it be that Cinetic feels Imaginarium will have a mixed or controversial or even a poor reaction so they would rather err on the side of caution and have acquisition execs make their decision on the sale during calmer, buyer-only screenings before critics and finicky Cannes audiences have a chance to weigh in? Terry Gilliam's films are known to be brilliant, yet tough. 

Or perhaps the film is remarkable and they feel the acquisitions execs will pony up more cash prior to the anticipated premiere so they can use Cannes to launch the film?

My gut says the film is not an easy sell, despite the early buzz and starpower and Gilliam's fanbase, and Cinetic is using this strategy to create a wonderment about the title. Even embarking on an out-of-the-box sales strategy gets the rumor mill going, resulting in, you got it, publicity! It's all very intriguing. I will be watching to see how it fares and I look forward to actually seeing the film!

Here is a link to the Imaginarium of Doctor Parnassus blog and a teaser trailer:

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Elizabeth Gilbert, Author of "Eat, Pray, Love" Talks about Creativity

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How to Stand Up for Your Value as a Producer

Angelo commented on my post Producers: What Are We Worth?: 

You present a strong argument to stand up for yourself in the presence of financiers and distributors. But how? I think every producer feels she is valuable to the project. But when you value is challenged how does one stand his/her ground. Examples would be nice.

Thank you for the comment Angelo. You make an excellent point. Here are some suggestions on how to stand your ground in negotiations for your producing deal on a film: 

• Provide concrete examples of what you are bringing to the table to the financiers/distributors. They may not realize everything you have done or plan to do that directly correlates to increased value of the project. Perhaps you spent a full year developing the script with the writer and have brought two major cast attachments to the project. This work = value.
• Show how your involvement is critical to the success of the project. No one wants a parasite on the project that will suck out resources but never give anything of substance back. If you can show how you are a valuable part of the team, you will have a higher chance of getting the deal you want. 
• Do your research. Make sure the deal you are requesting is industry standard for the type of project.
• Always keep the door open for continued negotiating. No one likes to hear: Take it or leave it.
• Be willing to make some concessions so the financiers/distributors feel they are winning in the negotiations too. Everyone likes to win. 
• Get creative with how you may be recognized. Perhaps they can't afford your salary, but they can give you a bigger credit or a credit for your company or a higher back end percentage. 
• Be as realistic as possible about your skills and what they mean to an established financier/distributor who is used to working with very successful producers. If you are angling for a similar deal as Brian Grazer then you are aiming too high -- unless you are an equal to him in success and relationships. 
• Have a good attitude. No one wants to deal with a sour puss. 
• Remain professional and have high integrity. Back-handed, low blow deal-making breeds negative feelings and will ripple out over the future of everything you do. Bridges are burned in this industry every day.
• Use an entertainment lawyer to negotiate on your behalf. It's harder for a financier/distributor to bully an entertainment lawyer that they know and have done business with in the past. 
  
• There are two sides to every story. Recognize that the financier/distributor may have strong reasons for why they are offering you a smaller deal. Find out why and offer rebuttals for their reasons, again, respectfully. 
• Network. The more you get out there and establish friends in the business, the more your value increases. Your relationships could directly and positively influence the success of your project!
• Be willing to walk away -- calmly. If your deal means that much to you then be willing to move on respectfully. Some deals just aren't worth your time and energy. 

I hope these ideas help. And please add more!!

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