By Lance Weiler, June 16th, 2010

In the media industry, gatekeepers traditionally wield extraordinary power over creatives, as they hold artists’ dreams in their hands. This imbalance has led to a bizarre set of standard deal terms and practices that would seem absurd in any other industry. Now that artists have the power to reach their audiences directly, these old ways are obsolete. Before entering the film business, Brian Chirls worked in finance and construction and attended business school. In this session, he applies his “real world” experience to the problem of negotiating with investors, distributors and platforms, sharing stories of deals good and bad.

Workshop: “Who does business this way?!” – Lessons From the Real World

For more on Brian Chirls
www.chirls.com
@bchirls

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  • C MacDonald
    I too have worked in both industries and what the speaker is not telling you is he is comparing apples to oranges. In other words, he's comparing a commissioned construction project to an independent film project that is basically done on spec. Both industries have their own versions of 'commissioned' (pre-bought and paid for by a client) and 'spec' (self-initiated with intent to sell upon completion). In the film/video business, one can work on commissioned projects with from 10 - 30 % paid up front and further payments made as the project meets its milestones. Conversely, one can also do a building construction project on spec and hope that someone buys it after it's built.
  • Clo
    This video lecture has great content but, man, the sound is really hard to take!
  • o.v.kriss
    Well some posts are so informative that we get a feeling that we missed this information when we actually wanted it, but this post is something i am looking for, thank you.
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