As an indie filmmaker, to SAG or not to SAG has always been an issue when casting films. The paperwork, the fees, the obstacles that they place in front of you can be daunting. Having to work with them, not they trying to work with you. In the new world of cinema where creators are attempting to engage their audiences over a myriad of portals/devices in many innovative ways, the old actors guard have not embraced this new way of entertaining, in fact it is even more challenging to work with them. I have experienced a new dilemma with the professional actors union, how to explain my upcoming project in their “contract” terms and attempting to not break their rules.

My latest project Billboard an Uncommon Contest for Common People! has many moving parts, we are engaging and entertaining audiences in a plethora of ways. In the first phase of the project we have an opportunity for everyday people to get involved with the project as well as SAG actors. In fact some of the movie cast I need for this phases, happens to be based on around a website. RED FLAG, RED FLAG! What do you mean you want to use SAG actors for a website along with unprofessional actors? In an attempt to work with SAG I need to break the project into two different projects, one for the New Media side of the project and the other for the movie.

Okay, I understand. Got it. I will break the film up into two different projects under a bigger umbrella. Now I want to cast name talent who we will need to be in both projects. RED FLAG! RED FLAG! Try to have your casting director explain this to agents. WTF! I am trying to play by SAG’s rules, now agents think I’m trying to pull a fast one, confusing the process. No I really am trying to work with the old actors guard. Agents aren’t having it. I even offered to present my project to the agencies so they get what I’m trying to do, my casting director doesn’t feel they will be receptive, “do you really think a group of agents, at an agency will take the time to listen to you explain your project so you can hire their actors”. I’m willing to do anything for people to understand what I’m trying to do. CAA, WME, ICM, UTA call me, 610.597.7189, I would love to work with you! Maybe we can package the project with your talent?

This is only half of my challenge. The other half is working within SAG’s rules when it comes to narrowing down what budget contract we fall under. For those who don’t know what I’m talking about; what you pay SAG actors is based on your budget. Each budget limit has a contract with a different set of rules. After reading SAG contract after contract and trying to figure which one worked best for my project I determined the Ultra Low budget would work best for us, it’s the most flexible. You can work with SAG and nonSAG actors, you don’t have to use SAG extras, you only have to pay the actors $100/day (although I have budgeted more than that for my name talent) and the budget cap is $200k, although we will have more money than that. The real reason is the ability to work with anyone I would like to. My daughter is not SAG, do I really need to Taft-Hartley her?

I made this business decision and I am willing to work within SAG’s rules. Now I would really, really like to work with Actor/Actress X. My casting director pitches the project to their agent. Agent’s response, “no way in hell will I let my Actor/Actress work on an ultra low budget project.” They won’t let her explain further. We have our reasons, we have a ground breaking project, we have money to pay more than $100/day, we are only trying to play by the old actors guard’s rules. I cut my hair short so I can’t pull it out.

I have thought about scrapping SAG all together but I really want to work with some particular actors. Working with these actors will also make the project more marketable when we distribute the movie. Thus I need to and am willing to work with SAG, but will they work with me? Will agents take the time to understand what we are doing? We have a way that our key actors will be compensated handsomely for taking the risk with us. Risk reward right?

I can’t wait until we unleash Weiler’s transmedia project at Sundance, maybe the industry will understand what we are trying to do more easily. Sundance has embraced us and this new form of entertainment, Academy Award nominee Guillermo del Toro just announced his new transmedia studio in Marina del Rey, CA and the marketing execs of brands get it. When will SAG? Agents? I guess time will tell, but I’m on a schedule.
Maybe I should reach out and partner with a Hollywood established production company who have embraced technology to help tell their stories. Maybe that will make this casting situation easier. Anyone have any suggestions?

Buyer Beware!
I have been getting an amazing amount of emails lately inviting me to conferences and lectures where the hosts want me to fork over copious amounts of cash to learn from their panel of experts. Can’t you already learn from these same experts at The Workbook Project or DIY Days and it’s free? These are two examples of places where musicians, filmmakers and gamers can read, listen and watch, educating themselves in an open environment, the latest trends in many things creative.
Yes I believe that experts should be compensated for their time, but some times these experts aren’t being paid for their time at such conferences, even when the audience is asked to pay a couple hundred bucks to attend. Yes there is value in networking at such conferences but what is the real benefit? Is it worth the price tag? Maybe there needs to be yet another evolution in Lance Weiler’s mega-info-platz-site, The Workbook Project, where creatives can skype/conference call with experts at a given time per week. The creatives than can donate money on how worthy they feel the expert’s information was.

This brings me to another growing problem in the indie film scene particularly. The abundance of everyone putting out their shingle as a producer’s rep. There was a time when producer’s reps actually did something for filmmakers. Bob Hawk and John Sloss have excellent reputations as well as a number of others (Submarine, WMA, Jeff Dowd, Abramowitz, established agencies). But there are others who do not. FILMMAKERS DO NOT PAY AN HOURLY RATE FOR CONSULTING. A true producers rep/consultant will represent your film to potential buyers and take a percentage of the sale, much like agents do. There are a number of people saying they are producer’s reps/consultants who are not helping make sales or the film for that matter. Instead they are billing/collecting filmmakers scarce capital, pocketing it and getting very rich. THIS IS A SHAM!!!
Here’s my example: I met producer rep/consultant at a conference in NYC a couple years back. We exchanged cards, he asked to see my film that I was working on. I sent it to him. After review, he called me and we chatted. Three weeks later he sent me an invoice for his time for watching my film and the phone calls he made to me. What the @#%&!!!!! Needless to say I told him to shove it. Do not fall into this trap. Do not sign anything and do not pay them. This is complete B.S.!
True producer’s reps will watch your film or project and evaluate whether or not they want to get involved. Not every film is right for every rep. The same is true with agents. Do not become discouraged. Keep trying. If they pass, ask if they could suggest someone who may be right for the project. Listen to what they have to say and make changes. Do not pay them for this. It’s unfair. Think for a moment. A producer’s rep has the potential of making a considerable amount of money on the sale of your film if they deem it worthy. You want someone who is going to fight for you, not have their hand in your wallet.

Times are tough, listener-ship is down and Clarence Lindeweiler needs to come up with a plan to save his struggling alternative rock radio station, WTYT 960. Clarence’s plan is to host a billboard sitting contest, where four lucky contestants have the opportunity to win, “a beautiful mobile home and nine-sixty hundred dollars”. All they have to do, is be the last person to survive, living on a billboard.

Two weeks ago we announced our next project, a transmedia project based around the movie Billboard an Uncommon Contest for Common People!. I warned everybody in attendance that they could shape the course of the project, be a part of it, be immersed in it or simply be entertained by it when the finished movie comes out. I guess I should warn you too. This is what has transpired thus far.

The day before our announcement we launched our indiegogo crowd funding site. Our site outlines what the project is about, how the funds will be used, a description of the perks that we’re offering and details on how contributions can be tax deductible through our fiscal sponsorship with Fractured Atlas. Check it out, donate and please give me your feedback.

Prior to the announcement we sent out press alerts to 20 news organizations in the area, in fact twice, two days leading up to the announcement and the day of. We sent out invites to about 100 people to join us for the big news. Well, it poured down five inches of rain that day but we still had twenty people show up and two people from the press. While I was discussing the project live, people at the office where emailing out press releases. Why did we feel it was important to make an announcement? The project is inspired by a real contest that took place in the early eighties in the area and we need local supporters, a.k.a. funders, to help us make the project a reality.

We’ve learned that press begets press. Press also builds credibility with potential supporters, which can help a lot. The press that we have received, has resulted in over 130,000 impressions for the project thus far, which savvy businesses could have already been capitalizing on. A buzz on the street helps too when you start making phone calls to people, but it doesn’t exactly equate to dollars. We’re attempting to raise 10% of our budget locally.

We feel by having 10% of our budget in place, will also prove to those people who are on the fence of support, that the project has some legs and carry them over to the other side of support.

That is my focus for the next couple of weeks, to seek out some local brand sponsorships before I go national with a press campaign. I may look for someone who would be willing to match donations dollar for dollar for a given amount of time up to a certain dollar amount. Maybe you or someone you know could help us achieve our goal?

Stay tuned…

As many filmmakers embark on their journey to Park City to “dance”, I wanted to update a post I made a couple months back concerning how to make money on theatrical self distribution. Many people will tell you that it is impossible to make money in theaters. That theatrical distribution is a loss leader to make money later on video and cable release. I totally disagree, it is possible, because I have done it for all of the features that I have directed, to net $10,000 for one screening of your film.

Plan Ahead

I am a big proponent of building brand relationships early, usually in preproduction. I like to use product placement in my films because I feel it adds to the believability of the film. Many companies will offer free product for your film and the appropriate clearances. The free product goes a very long way. Ask my crew. I would hand out cases of beer after a long day of shooting (I always made sure that I would do this when call was later the next day). People like to feel that they are being taken care of and this doesn’t cost you anything.

Using brands in your film also creates a possibility that they would fiscally sponsor your screening or donate product for your after party in the future. Work with companies that make sense to your project and always keep in mind the company’s image.

When you’re in post production, book a date to have your premiere and screenings. When you’re talking to people about your film you can say we are premiering the film on this date at this place. Do not be afraid of four walling (renting the theatre). People like to hear that you have a plan, and the confidence level in your project goes up. Your investors like to know this too. Find a theatre that you can sell out. The buzz of selling out a theatre is infectious. Word will get out and the possibility of booking more theatres strengthens.

Build a Team

To make your screening a smashing success you will need a team of people behind you and start this process early in post production. Delegate responsibilities realizing their skill set. Have individuals plan your pre and after party, sell advertising, design your merchandise and advertising, do your public relations, etc. As you bring more people onto your team your networking possibilities expand exponentially.

Pound the Pavement

One of the biggest parts of filmmaking is being social. Why do you think there are so many parties in LA and NYC? People like to do business with people they know. Even if you are in Saratoga, NY you need to be social. What do I mean by this? Go to places where you might want to have your after party, go to business mixers and find out who is responsible for community relations and advertising. Fire off a nice e-mail stating how pleasurable it was meeting them. Then in the future you have opened the window for “the ask”. Think of ways that make sense to do business together. You may need sparkling water for a bar scene in your film and for your screening after party. Bingo, Saratoga Water is a possibility. You met Jean at a mixer and happen to have her business card. This adds value to your film because you don’t have to pay for water during production or at your events.

Befriend the Press & Getting the Word Out

Go to events that you know the press will be covering and meet them. Don’t be shy, they can play one of the biggest roles in the success of your film. It is important to map out the various press opportunities in advance. During production and upon distribution are the key times that press will be interested in your project. Press is free and advertising is expensive. Create press often and in different ways. Create a hit list of the potential press and don’t go to them all at once. You want to have a strategic well thought out plan to stay in people’s minds. When it’s time for your big screening, follow up with all of the press on your hit list send them a press release ask for coverage and invite them to the screening.

You also need to invite people using social media, e-mail blasts, and mailed invitations with the details of the screening and a direct link on how they can purchase tickets. If you need 1000 people to fill your theatre you need to invite 10,000 people. Again another reason why you need to be social.

Ticket Pricing

I often have different price points for tickets to my screenings and sell them in advance of the screening from our own store off of our web site. I will close the store 24 hours before the screening and if people still want to go they can pay at the door. I sell in advance for a number of reasons: it pays for some of the incurred costs, I know how many people to expect and if I need to buy advertising to fill the theatre.

I always have a general admission price then other ticket prices if people want to attend the preparty and after party. For instance:

$10 General Admission (750 tickets available)

$35 Admission & After Party with lite bites, entertainment, and free drink from sponsors (200 tickets available)

$125 Admission, Pre & After Parties small intimate gathering with cast with lite bites (I generally make) and champagne toast (donated), limo transportation to screening then after party and gift bag. (50 tickets available)

The total projected income for this is $20,750 and the costs incurred are for theatre and party space rental ($5,200), food ($3,500), entertainment ($500) , transportation ($1,000) and the cost of the merchandise that you give away in your gift bag ($300). You can barter some of these expenses with advertising in your filmbill.

Sell Anything That You Can think Of

Think for a moment how tv, newspapers, and radio stations make their money. They sell advertising!!! Do it! You’ll be surprised how much money you can make. There are a number of ways that you can sell advertising for your screening. You can create a filmbill that tells people at the screening a little more about your film and has advertising in it. You can sell pre-screening slides of advertisements or hang company banners. For $2,000 – $5,000 sell sponsorships. In all advertisements you acknowledge the sponsor (presented by…), in your filmbill you save the back cover for them and rotate their advertisement slide more frequently and give them 25 tickets. Knowing your demographic is a key element in pricing these things.

At the screening sell merchandise, t-shirts, posters, soundtracks, DVD’s, books, playing cards, etc. Be creative and make sure it is something that people want. Printing materials can get expensive so create partnerships.

I BELIEVE FILMMAKING IS A BLEND OF ART AND COMMERCE!

You too can make over $10,000 for one screening of your film. You just need to do some hard work and think creatively. Make your screenings an event and something that you may be able to do in various cities around the country. I would love for people share their theatrical screening stories, the good, the bad and the ugly!

WOWZA! Thank you for everyone’s interest in the IndieWear idea. The entire plan and concept is becoming more concrete thanks to other filmmaker input. VERY EXCITING STUFF! We can create a team to make money together.

As promised I wanted to address how filmmakers can make money on YouTube. Let me first share with you a challenge that we had. I met the lovely Sarah Pollock from YouTube at Power to the Pixel last year and we chatted about the possibility of showing InSearchOf as part of their YouTube Screening Room. She asked what the film was about… The repercussions and consequences of people’s sexual actions. She then asked about nudity. I told her that we needed over twenty nudity riders for the film and then she told me that they couldn’t show my film on their site. I told her that I understood her position even though deep down, I don’t understand why seeing the human body affects people more adversely than violence. We are such an uptight society, (see my rant about iTunes here).

On the flight home I conjured my plan. I would sign up for Google’s Adsense, making money on their pop-up ads. I would show the “censored” first half of the film on YouTube. There is a clear delineation between the first and second part of InSearchOf. Then I would direct people to our site to download the entire movie or buy the DVD. THIS PLAN WORKED BEAUTIFULLY.

We had 2885 people view the censored version of the film. Close to 148 people visited our store and bought either the downloaded, DVD or merchandise off of our site, (this is a huge percentage, over 5% of the people who watched the censored first half of the film bought the entire film). We didn’t do any marketing for this, out of fear that we would be pulled and we finally were after six months. YouTube doesn’t like it when you promote other sites on the content that you post on their site.

Sure these aren’t huge numbers but this test proves that it can be done. Oh yeah and we receive a check every couple of months from Google for a couple hundred dollars thanks to people watching our stuff on YouTube.

When trying to make money on your film do not take no for an answer. Think of ways around the challenge/obstacle to make money.

Next Up: MERCHANDISE