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Pitch is a verbal, short, exciting, pitch. The maximum is three minutes.

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Treatment is a pros description of the project. Its about a page in length.

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Synopsis is primarily for fiction. It’s a short condensation of a story. Heres the story, heres the characters…two paragraphs.

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Proposal

Title Page

big and beautiful. “First Impact, a documentary by Belal Khan” and at the bottom, you need your contact.

Overview of the introduction

This is similar to the “executive summary.” Concise, one-page or less summary of the project, meant to interest the reader with it’s subject matter, original approach and audience potential. Reader can then decide: “I want to know more” or “That’s not for me.” It should be something that makes them want to read on.

Content

- (a) - The fiction or non-ficion story told briefly from beginning through middle to end. This is where you tell about your characters and storyline.

- (b) - Any interesting background to the project and why it’s compelling. Tell about something significant.

• There are 1.3 homeless children in our country.
• This is the first time a book by Madalain L’Engle has been brought to the screen
• Lance Trueblood has never granted an interview from prison until now.
  

Something to really hook the person.

- (c) - Tell about the importance and/or commercial potential of the project. Who is the audience and how many of there are there?

- (d) - The visual power and approach of the production. Wha will they see on the screen? “see pictures in back”

• What is the visual approach to the project? — What will they see on the screen? “see pictures in back” – ie: We open on the rockies, we pan into the ranch, we gradually dissolve into colors and come to modern day.
• Availibility of archival footage

Format

What format will the film be in? — (it’s a technical aspect.) Will it be done on film, digital, HD?

Principal Staff and Talent

You need to mention if you have any people interested. Do you have access to a director, cinematographer, editor with credits. If you haven’t done anything, fine…list what you have under your belt. Put everything in.

• You can get a “qualified letter of commitment.” It says “I have read your screenplay, and would very much like to participate in it, subject to contractual negotiation and my schedule.” You can use this with a writer, cinematographer, exec-producer, etc. It’s fair on both sides.
• Just about every documentary has a narrator or a host. If you don’t have access with any names or people with credits, say that you are going after a director like “so-and-so”.

Market and Audience Potential

Who is the audience? “My big-fat-greek-wedding” was targeted toward the American-Greek community. You may have a unique subject that lends itself to attention and coverage. Does it have news value? Use statistics and demographics, “American’s spend more money on their pets than on their babies.” – get a interest letter from a channel such as PBS.

Production Schedule and Budget

All you need to do is say, “I estimate that the schedule from development to completion will be approx 1 year.” “I estimate this project will cost approx $150,000” If someone loves your budget and they want to see it, then you will have to produce one.

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What about documentary and non-fiction financing?

• Email people for donations and financing
• NEH (National Endowments of Humanities, a government grant)
  • Development can go up to $80,000 – but must be in the area of humanities (religion, literature, etc), targeted toward US Citizens
  • Production grants, can go up to $1 mill, but most likely $100,000. Ken Burns gets about $1 million. You have to submit a proposal, but you will wait 6 months. You have to have a lot of detail in your proposal for this type. — The NEH has people who can give advice on what to include and what not to include.
• NEA (National Endowments of the Arts, a government grant) — Same setup, but for the other stuff.
• ITVS primarily does documentaries in non-mainstream areas. They don’t want mainstream or Hollywood.
• Each state has its own humanities or arts council. Cities have grants. If the project has to do with NYC, you can get a city grant. There are different types of proposals that you can go for.
• Check out your local historical society, which are run by the wealthiest people in the town.
• Religious/Ethnic groups have film/media departments also.
• Local stations also have funding available.
• Check film magazines.
• Film Festivals and indy film markets have a eye out for this type of stuff.
• You can shoot a trailer, and put it on DVD, and send it around.

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What about feature film financing?

• If you have a feature project, its nearly impossible with the studios. 1 in 20 major features makes a profit.
• As a result of this indy films have become successful because of the fact that they have been doing their productions well without the large expenditures.
• Hollywood Reporter is a good magazine to get to have list of production companies.

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Where can you go to get investors?

•  Dentists - they are bored, and have a lot of money.
• Successful real estate developers

These guys are bored, and love the excitement of investing in such a project. What you can do is draw up a limited partnership

• Credit card route is a disaster…don’t do it!
• When you ask for investors, they will ask if you have ‘first money’. Make sure you have some first money so you can say “yes!” It works for you instead of against you.
• Some indy producers make a short and they use that as a means of generating interest. Spielberg did a student film of two trucks battling it out on the highway. Studios loved it

• You can use your own money. This is the only way where you probably won’t have anyone looking over your shoulder or calling the shots.
• You can use you family and friend’s money, which can add a load of guild to the disappointment if your film goes nowhere.
• You can create a limited partnership for all those legendary Guys with Moneyin search of the motherload that is the Independent Cinema.
• You can get a grant, except you probably wont, because grants are drying up, especially government grants — at least in the United States.
• You can take the script and troll for a distributor or production company that believes in your film both commercially and artistically and is willing to translate that belief into a budget.
• You can sell the rights to Luxembourg, New Guinea, or any other foriegn territory, and use those contracts to acquire loans or to lure domestic investors or distributors.
• You can shoot a small piece of your film, and then use it to dazzle potential investors.

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Many of the independent films that get plucked out of obscurity at the Sundance independent film festival are made with money from people’s credit cards, or with bank loans or college loans or bingo games or garage sales or bake sales. Or else they’re financed by people who all have the same last name as the director. — they take a LOOOONG time to shoot, and often in spurts.

Media covers the successes, but they don’t write about the thoursands of people who DO go into bankruptcy, lose their houses, etc. For every successful indy film, there’s a hundred that fail and go broke, go crazy, or and ever go to jails.

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Shaking the Tree

When people want to invest, and when you are seeking out investors, you MUST (for reasons bother moral and legal) let them know that an investment in a film is incredibly risky. Of course pinch them hard about how talented you are, and how exhilarating it is to see their names in print in the end credits.

Keep in mind, when you make your movie…if there’s no audience, all you have is a celluloid trophy.

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Packaging on a Shoestring

What should you show a potential financier?

• a script
• a budget
• perhaps a cinematographer and designer (this makes the package stronger)

In the end, what matters most is who’s in front of the camera.

The hardest part is getting people to say “no.” No on really wants to. They want to leave that door open just a little it. They may say, “Welllll, if you do a tiiiny bit more work on the script…” — when usually, with those kinds of projects, it doesn’t matter how much work you do on the script, it’s not going to change what they don’t like. But that door is open in case…in case…you’re dealing with a world of professional bet-hedgers.”

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A Fit of Pitching

One of the worse things you can say in a pitch when describing your project is, “Its a cross between Harry Potter and Crouching Tiger.” — Its difficult to get financing for a project that’s not fresh or copy cat. A critic may spin a story this way, but as a producer, you can’t. It works against you.

What does work is putting across originality of your vision. Assembling a book of images works in your favor.

What is cautioned is pushing a script on producers or distributors at festivals or conferences or anywhere else you can find them suddenly accessible. The reasons for this is:

• The producer at those times is usually busy and distracted.
• They’re heavy and no one wants to lug extra weight on plane.
• The fear of losing the script, and not feeling guilty about it.
• There are people in the office who’ll give them a much less impatient first read.

It’s smarter to cultivate a relationship with someone on the bottom of the totem pole–someone who’ll pay more attention to you and perhaps becomes an energetic advocate.

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Indie Dependents

What does it mean when a company puts money into a movie? What kind of creative control do they ahve? How do you protect yourself? — If you’re a neophyte with a long-shot film, you’re pretty much at their mercy.

The author states that they argue and fight most with companies bankrolling her movies–distributors, investors, studios, whatever–is approvals.–the right as a producer to approve all creative choices:

• actors
• cinematographer
• production designer

If the financiers disagree…who breaks the tie? It gets sticky. Be diplomatic, and be influential.

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Foreign Affairs

Actors are a key factor in predicting foreign sales. The first thing you say to a foreign sales office  is, “I want to make this movie, this is who’s going to be in it. Can I have $50,000, please?”

Many don’t get the money until the film is done and delivered. How do you get money for the cash flow? Find a bank or investor.

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Pieces of the Action

What happens if you can’t raise the kind of money you need even to start you feature film?

Make a short so you’ll have something to show.  It’s a good idea to have several shorts on your resume. — Come up with an idea that’s really commercial-and don’t say “Commercial? Me?” Most important is, think about who your audience is, and pitch your film accordingly.

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Your idea has probably come from one of four sources:

1. It’s original and you though it up on the way to work in the car, or in the shower one morning.
2. It’s a book - you just read a great book an thought that it would make an equally great movie.
3. It’s a magazine or newspaper article - you just read a great article and it’s the basis for your idea.
4. It’s someone’s life story - someone famous or otherwise has inspired you.

If your idea is original, problem, write away - the idea originated with you, hence you own the rights.

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If your idea is from source 2 or 3, then you’re going to need to secure the rights. As general rule;

• all written works published before 1923 are in the public domain, which means you do not have to seek permission from the copyright owner.
• works published aftr 1923, but before 1978 are protected for 95 years from the date of publication.
• works published after 1978, are protected for the life of the author plus 70 years

To be absolutely sure, contact the U.S. Copyright Ofice to see if a copyright exists. If it does, then you can approach the author and reach an agreement allowing you to write a screenplay.

• for authors - you can find their details through their publisher
• for journalists -you can find their details through the respective magazine or paper.

Often, you will beinformed that the film rights have already been sold to someone else, but there’s not harm in trying. Copyright law can be tricky and you should take particular care when dealing with this issue. Don’t proceed until you’re sure and remember that copyright law can be different from country to country and may only be the life of the author plus 50 years - don’t miss out.

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If your idea is from source 4, then they are probably a private individual, a public figure or an historical figure. If it is a private figure, then you should approach them or their heirs and reach an agreement with them for the film rights to their life story. Althrough this is not always required, it is a coutesy that the person or tehir heirs would appreciate, before seeing their life story on the big screen. It may also uncover whether exclusive rights have been granted to someone else and if not, then a whole wealth of infomation could become available to you, giving you a uniquie personal story.Use a legal resource, as you want this document to be secure, so that the time and effort you invest in your screenplay is not wasted, when someone else comes along and shows interest.

• If it is a public figure then you have to be careful not to write an defamatory material or reveal any intimate details of their life that would be considered an invasion of privacy. You can write the story, but you have to be very careful what you write. You might want to get an entertainment lawyer to look through the screenplay. Of course, you can always try to obtain the rights to their life story, but be prepared for some legal wrangling, even if they’re interested.
• If it is a historical figure then you’re luckier, because you cannot copyright historical facts - just make sure to tell the story in your own unique way and not based on someone else’s interpretation. the above is a general rule of thumb and legal advice on copyright issues is always a good idea.

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An option agreement signifies that you, the writer, have given exclusive permission to a production company or producer to try and setup financing and get your screenplay turned into amovie. The option agreement will specify the final sale price of your screenplayu and the amoung of time that the production company or producer has in which to do thi, normally six months to a year. A sum of money usually changes hands, anythin from $1 to $5,000 and up, but hte idea is to keep your eyes on the goal post i.e. what will your screenplay actually sell for? Always have a legal eye review any agreement like this.

A release form protects whoever is reading your screenplay. You’d be surprised how many screenplays dealing with the same theme, are circulating around Hollywood at any one time. if, whoever reads your screenplay, already has a similar project in development, they don’t want you accusing them of theft later on, when their original movie hits the multiplexes. As a general rule, no-one will read your screenplay without you signing a release form - but make sure that’s all you’re signing!

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When you get an option you can renew it. Once you get someone to to purchase the development, you should give them 5% of the above the line budget. Try to obtain as many rights as possible; film, TV, DVD, internet, VHS, audio-visual, foreign, publishing rights to the screenplay, radio, play-rights. Before you sign the option agreement, make sure you have an entertainment lawywer look at it. Pay him his fee.

When it comes to options, be conservative. You may think a year is good enough, but its not always. Make sure you have renewal options. Do your research. Make sure it’s not already optioned. Remember, anything published before 1923 is copyright free (Jane Austin, Shakespeare, etc).

As a producer you want to have a “log line” – This is the one line that explains the movie on the TV-guide. It should be fresh and unique.

As soon as the script is done. Before you start to look for money. The author recommends that you should assemble three budgets; the dream budget, the less-than-dream budget, and the bad-dream budget.

• Dream budget…will most lkely be out of reach unless you can attract a seriously bankable actor.
• Less-than-dream budget…is the one with all the fat squeezed out but still some room to breathe.
• Bad-dream budget…the author gives an analogy of climbing mount everest with a swiss army knife. Better get in shape.

When assemble your budget, keep your audience in mind. Also, the more money you have, the more room you have to play. Scheduling your film should be done before you finish your budget, and keep the exterior shooting days first. This way if the weather isn’t to your likeing, you can push it to a later date or a different location.

Keep in mind, if you are working with a director, he/she will want to put their vision first. Do what you can to avoid an adversarial relationship with the director. Assure the director that you are doing what you can to get them what they want with the resources that we have.

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Union Dues

A question you need to ask yourself, “Am I going to use union cast?” If you are, keep in mind that you will be paying for health, pension, and welfare.

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Facts-and Myths-and Figures

I’m not going to include all the details of this, but rather a bulleted layout of what to expect in a professional budget.

• Story and Rights – attaining the original screenplay
• Writer’s fees – money for the script
• Script Copies – you need to get every actor, and all creative personnel needs a copy of the a script
• Clearance Report — Where the law firms says “don’t say this here”
• Development Costs – Everything that went on to develop the movie. Dinners, meeting, travel, etc.
• Producer Fees – Producer need to take some cash home too. Can range from $75K-$125K on a $2 million budget
• Director – Can range from $50K-$100K on the same budget

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• Cast – Their fee, like the producer and director depends on the scale of the movie.
• Overtime – this is budgeted 35% over the actual fees. You will need it if you’re working with real actors.
• ADR Allowance – this is if you need to bring actors back to do additional dialoug, recording, looping.
• Insurance Exams – this is so that if your top leads get hurt, you are covered.
• Casting — Calls, assistance, all these things add up.
• ATL travel and living — this is where you put money if you want actors to come to you.
• Fringes — this covers the fees you pay SAG for health and welfare.

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• Line Producer – this person does a lot of the below-the-line hiring.
• Unit Manager — Overseen by the line producer, looks after the crews needs on a day-to-day basis.
• Location Manager — finds the locations and manages them
• Assistant Location Manager — they do the preliminary scouting of their own.
• First Assistant Director — the heartbeat of the set.
• Production Office Coordinator — Manages the office, never comes to the set.
• Production Accountant– Your lifeline to the budget
• Post Accountant — Someone who needs to keep track of post production expenses

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• Production Assistants (PA) — Help on and off the set
• Parking PA — supposedly a miserable job
• HP&W — health pension & welfare
• Extras — These guys dont work for free. Some of them make a living off of being an extra.
• Costume Adjustment — If the extra wears his/her own cloths, you pay them
• Kit Rental — used to compensate people who bring their own tools to the job
• Materials/Supplies/Graphics — Everything the designers use to make their designs

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• Set construction, scenic labor — people who build and paint the sets
• Scenic/Construction Materials — stuff to use in contruction
• Cartage — taking out the garbage
• Grips — all-purpose handmen…dollys, mics, lights, etc.
• Car Rig Rental — Things to attach to the cars so you can shoot while people are driving or conversing.
• Craft Service Supplies — table with snacks, juice, etc.
• Unit Supplies – Thinks like tables and chairs for meals and such.

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• First-Aid/Nurse — people always get hurt
• Watchmen — Its not fun to show up to work and find that your equipment is gone.
• Set dressing staff
• Props
• Video Playback
• Wardrobe
• Maintenance, alterations, cleaning — actor’s cloths routinly get messed up, you need someone to manage this.

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• Special Effects — Don’t mess with this. People who know what they are doing get maimed and killed. If you’re dealing with firearms and explosives, you need someone who’s done it before.
• Hair and Makeup — part of special effects
• Electrical dept. staff and expense. — Electricians deal with the lights.
• Gels — Its a way to keep your storage stuff safe and not be afraid of damaging it.
• Director of Photography — The light master.
• Camera Operator — can sometimes be done by the DoP, other times you need a separate person.
• Assistants — You need someone to handle the focus of the camera, and other people to help with the clappers.

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• Steadicam — In case the director wants it.
• Stills Photographer — Stills from your shoot are some of the best PR tools at your disposal
• Camera dolly rental
• Sound — if the audience can’t understand what the actors are saying, they’ll get frustrated and lose interest quickly.
• Boom Operator — its consists of holding the microphone in an uncomfortable position
• Walkie-talkies — When you don’t need a walkie-talkie on set, then you are the producer.

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• Transportation Labor
• Vehicle Rental
• Location Expenses
• Site Rentals
• Holding Areas — Areas for dressing rooms, wardrobe, hair, makeup, and catering.
• Storage

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• Copy Maching — this is so you can copy all your call sheets as necessary
• Cell phones — people use them a lot and are killing film budgets
• Office — when you start up a production office, you got phones, fax lines, computers, modems, etc.
• Location Photos– The photos you take on scout trips to show directors.
• Gratuties — part of your scouting expenses
• Rain Machine — if you want rain in your film
• Film Stock — if you are shooting on film

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• Lab – place to print your film
• Still Film Process — for your photographer
• Polaroids — they’re used by wardrobe, hair, makeup, and the script supervisor for continuity
• Camera Test — best way to avoid unplesent sprises in dailies with regards to your equipment.
• Editorial– editor starts the picture cut as we’re shooting
• Editing Equipment, AVID rental, AVID room rental
• N.B.– how far will you budget to? Hoping that distribution will pay for post-production costs is naive. It’s not a bad idea to budget through delivery.

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• Post Production Sound — Getting your sound up to par, with doly bicense, dolby sterio, and other requirements will cost money
• Titles and opticals — Title sequences can setup your film beautifully. Try to thikn of inventive ways to shoot your titles during principal photography.
• Music — You will have to pray license and use fees.
• More deliverables — it includes film-to-tape transfers, internegative, D2, textless IP (for forign market)
• Miscellaneous — everything from niceties to essentials.
• E&O — errors and omissions insurance. In case someone sues you for libel or defamation of character.

If you establish yourself, scripts will find their way to your doorstep via agents, directors, and writers who know what sort of films you do. As a producer you want to:

• Put your resources behind a script.
• Find a director that you can work with and can tolerate.
• Ask yourself; “Is it possible to do this movie for the money I can raise?”

Look around and see what you have access to. What can you bring to the picture that won’t cost you anything. Write a screenplay with those elements.

Another place to get movie ideas are in the form of novels, memoirs, or the author’s favorite…true crime stories. If its a novel or memoir then you may want to check to see if a studio already owns that project or not.

Arrested Development

Before writing the script ask and answer the question, “Who is the audience?”

When you get someone to write a script for you, be someone they can trust to look at the material and not say, “Yuck.” Of if you do, say “Yuck” constructively. That sort of relationship with a writer will enable them to not be embarrassed to show you something outlandish or something that might be atrocious but might also be genuinely inspired.

If they are so inclined, provide food, shelter, and office equipment too.

When it comes to doing a documentary, know scripting or what it takes to be a scriptwriter. The documentary script writer should know that they have to respect the facts, but they also have to tell a story. A story that needs to have characters, and those character’s lives need to move forward in a way that would keep the audience moving with them.

What happens a lot in the writing is that the project is tailored to sit the tastes of a financier or studio executive. No script will ever please everyone. Ultimately, the writer has to have the courage of his or her own convictions.

Writes of Passage

In the development phase, the producer has two functions:

1. Create a space in which the writer feels safe and comfortable writing
2. Mediate between the writer and the entity that has provided the development money.

A script cannot be forced out of someone. Its either done or it isn’t. At the same time its only fair to let the writer know that if they don’t deliver the whole thing can fall apart.

A major difference between low-budget and Hollywood studio development is that in Hollywood, executives are very casual about throwing a writer off a script and bringing in someone else.

Rights and Wrongs

There is no substitute for legal advice; hire a lawyer.

How to Pitch Me

The following are the author’s advice on what to do and not do when pitching a project to her. This may or may not work for other film producers. >> I have noted the ones I felt are important.

• Don’t make movies that are like other movies.
• Know something about the company you’re pitching to. What type of films do they make?
• Sending your script to everyone in Hollywood is a bad idea.
• Be concise
• Don’t gush
• If you send something special to get my attention, be clever
• Be patient. A company at any time can be producing more than one film.
• Rejection is inevitable in this business. Don’t despair. There are many aspiring producers out there who might jump at the chance to make your script.

There are many placed that a producer may get their inspiration and material for their projects. Among some of the sources are:

• News Articles
• Religious Texts
• Books - If the book happens to be a best seller, then it’s probably bought by the big studios. They don’t let this sort of thing lay around for others to grab it. If the story or book is public domain then you’re good to go.
• Magazines - An example of a magazine as a means of inspiration is “Great Day in Harlem“, a documentary by Jean Bach. She was a radio producer who saw a two page spread on Esquire magazine and wondered how they got all those jazz musicians in one place at the same time. She was so fascinated by it that she started doing research. She called up the magazine, photographer, and then decided she wanted to make a documentary. This was her first shot at it, and won an award for it.
• Historical Events - Movies like Saving Private Ryan, Miss Evers Boys (A story about black troops who were injected with syphallis without their knowledge.) have inspirations from things that took place in history.
• Works of Art
• Sports - (Hoop Dreams, Endless Summer). When it comes to sports, its about the angle and making it fresh.
• Biographies & Autobiographies
• Personal Experiences - Another big inspirer of stories is our very own experiences or the experiences of others.
• Polotical, Moral, Ethical, and Activism - are areas of material generation. Erin Brockovich on pollution. Michael Moore on his political films.
• Nature, Natural Wonders, Animals - Planet Earth, March of the Penguins.

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Ideas are Worth Nearly Nothing

Ideas need to be developed. Ideas are a dime a dozen. An idea needs to be specific, and has to have a story. “A bunch of funny people living in an apartment” vs “An old woman turning 102, living on a ranch that is maintained by her daughters who are 80 years old, throwing her a surprise birthday party” — The later is far more specific and developed.

Film Schools always have students who want to direct and work, but don’t know how to produce. If you can learn to produce you’ve got work. Internet is also full of opportunities for first time producers. Being a producer is an excellent experience.

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Once You Have the Material…To produce or not to produce…how do you decide?

• Does the material excite you? - That is the first question to ask yourself. Does it affect you. Are you passionate about it. Do you want to share it with others?
• The quality of the material - what shape is it in? Its just an idea, is it something developed?
• Does it lend itself to visual storytelling? – Someone can come up with an essay, it may just be great as an essay and not a film.
• How well developed is it? - The more developed the material is, the easier it will be to finance, get a good staff and crew, and get talent to do it. Professionals and investors love developed material. Opposite is true as well. The less developed it is, the more time it will take to do it, and harder it will be to get investors, and crew.
• Personal preference and choice is a major factor. - Would you feel good and be passionate about films that border on soft-core pornography? What if you were handed a project that was racist and/or sexist? Product plugs are common as well. A company may approach a producer to make a film where they show a certain product over and over again. Umm Ayoub wrote an excellent article on product placement over a Leechon Films titled, “Product Placement: How Oblivious Are You? Hmm…“
• Can you produce it? - Chiz (my teacher) was approached to produce Arthur via CBS. He knew he’s never done animation and honestly told them that they have to find someone who knows how to produce animation.
• What ever genre you will do, do you feel comfortable in it?
• What familiar are you with the subject?
• Is there an audience for it? - Vachon (Author of Shooting to Kill) stated that if it means enough for to you then you will find an audience for it. Your budget has to reflect the audience you have in mind.
• Has it been done already? - Check out IMDB if its already out there. You don’t want to be number 2. Don’t spend time and money developing something for which has already been optioned to someone else or another studio.
• Does the project have ancillary potential?
  • Does it have the potential of a foreign sale?
  • If it’s a feature does it have room for a DVD sale?
  • Does it have audio visual potential. (colleges, film clubs, etc)
  • What about internet download, itunes, and streaming.
  • Does it have book or magazine potential? (seseme street books, magazines, toys, and products all helped fund the series.)
  • What about a soundtrack possibility?
  • Does it lend itself to a sequel or spin-off?

You ask yourself all of these questions, because you will use this to get investors.

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How difficult will it be to get financing?

Vachon mentions in her book that she works out three different budgets:

• An ideal or dream budget
• A normal budget
• A nighmare budget…how low can you go?

Low budget is a relative term. It depends on where you are in the country. In New York low budget is from $750.00 to $750,000. Normally its around $3 million. In Hollywood its $30 million for low budget.

Financers always ask about any big name people involved:

• Actor
• Cinematographer
• Editor
• Director, etc.

This is very important for you to have this included to get financier. You may say something like “I’m going after a cinematographer like…” which is sort of beating around the bush, but its not lieing because you are looking for such a cinematographer.

• What about when it comes to documentaries? Many people have gone to big actors like Robert Redfort and Morgan Freeman to be narrators or executive producers. If you have a very good proposal then they will come along and it will help you get financing.
• Do you have a reasonable budget that will help you get some sort of profit potential? If your target audience is very small, then you should keep your budget low. If it’s a mass audience then maybe you can get a studio to back it.
• Do you have any personal contact that may be a source to get your project done? Does your project qualify for any foundational, corporate, or governmental funding. There are LOADs of them. For each one you would write a proposal.

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What is the best format and length for the material?

Most people think of a project longer than it already is. You want to cut and trim until it gets to the essence and core of your story. A two hour network program may be about 90 mins. A non-commercial channel may show 52-54 mins.

• How long does it REALLY take to tell your story well? Lincoln gave the Gettysburg address. It was about 1:57 mins. It had ten sentences. 209 words of it were one syllabus. Getting your word across as easily and promptly possible is important. Goldwater lost the election to a commercial 30 secs that showed a girl pulling petals followed by nuke BOOM. – Cut to the chase as they say.
• You need to put together a reasonable production schedule and budget. It should also project the shoot and travel time. If the schedule time increases so will budget. Some hidden costs for a documentary are archival footage. The nature and subject matter may attract organizations and societies to fund it.
• Do you have a fresh and unique approach to the material? - Michael Moore is amazing at this. When he produced “Roger & Me”, Farienheit9/11, and Sicko…he total a totally wacky and comical approach. Momento, he took a thriller and did it backwards.

Summary

What does a producer do? What DON’T they do? Author describes that she develops scripts; raise money; put together budgets; negotiate with stars with meager budget; match directors with cinematographers, cinematographers with production designers, production designers with location managers. Makes sure the shoot is on schedule, on budget, on track, hold hands, and stroke egos.

The Author states that when you read this book, you’ll learn about producing by learning what she likes. You learn about her experiences in the areas of development, budgeting, casting, shooting, editing, releasing, and fighting battles with artistic personnel and studio executives.

One shouldn’t go into production without all the money in hand that is needed to finish the film.

Expect the worst, plan for the worst, and repress all thought about the worst.

[personal thought] — Personally I like to stick with “plan for the worst, hope for the best, and put your trust in Allah”

The more you know about the history of film, the better you can imagine its possibilities. The author didn’t go to film school, and a lot of people learn the basics there. When they come out of film school, they all want to be directors. Someone has to make and serve the coffee.

[personal thought] — I was once told that in even in the top film schools, one learns only 20% of what you need in the real world. The other 80% you get by being in the business for real.

In an indy movie one can get a job without having any prior experience as long as you’re willing to work for free.

Yelling at people doesn’t help. The amount of time spent trying to blame somebody else is simply not worth it. The bottom line is, you cannot be a producer unless you understand that it’s all your fault. — Once people stop fearing that they’re going to be targeted for blame, they start thinking for themselves, and they’re no longer paralyzed by the thought that they’re going to screw up and someone’s going to scream at them.

It takes incredible nerves, passion and talent to make low-budget movies. it takes knowing everything there is to know but not knowing enough to paralyze you in the decision making and execution process. The one thing that all great producers have in common is the courage of their convictions.

My friend once said,

“One thing about being a Producer is you really have to have thick skin. It’s not about yelling at people because you want to blame someone else. It’s about being a “force to reckon with” on the set by making sure that the crew is not slacking, that every aspect of the set is taken care of (from catering to rolls of film/tape), and depending on your style, either interfering or giving breathing room to the creative department.

You hit it on the nail in the sense that the buck does stop with you on everything having to deal with the actual production of the film (not necessarily the creative portion). “

The following information is via an article that was given to me in my “Film Finance, Marketing, and Distribution” class about what is a producer.

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From some small notion, idea or concept, producers see something great, something noble, something worthy of the months and years of struggle that will turn it into a film, television show or new media program. He or she will nutrue i, defend it, surround it with peopl who share the same vision. And from this, something spectacular can evolve. Something that can turn the world on its ear with wonder, amazement and awe. Producing credits need to reflect the truth and reality of the producer’s work. That’s why the Producers Guild has now formally established recognized guidelines to ensure that producers get the credit they deserve. To find out more visit our website at www.producersguild.org.

Even in science fiction, the fiction should end when the credits roll.

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Producer by: Credit for Theatrical Motion Pictures

In common parlance, an individual receiving the “Produced by” credit for a motion picture is typically referred to as the film’s Producer. To avoid confusion with other producer credits, we refer to this individual as the “Produced by.”

The “Produced by” credit is given to the person(s) most completely responsible for a film’s production. Subject to the control of the Owner (see Rules of Arbitration, section I.B), the “Produced by” would have significant decision-making authority over a majority of the producing functions across the four phases of a motion picture’s production. Those phases are: Development; Pre-Production; Production; and Post-Production & Marketing. The following considerations would be taken into account in determining “Produced by” credit:

• Within the development process, the “Produced by” will typically conceive of the underlying premise of the production, or select the material. S/he also will select the project’s writer, secure the necessary rights and initial financing, and supervise the development process.
• In pre-production, the “Produced by” will typically select the key members of the creative team, including the director, co-producer, cinematographer, unit production manager, production designer, and principal cast. The “Produced by” also will participate in location scouting, and approve the final shooting script, production schedule, and budget.
• During production, the “Produced by” will supervise the day-to-day operations of the producing team, providing continuous, personal, and usually “on-set” consultation with the director and other key creative personnel. S/he also will approve weekly cost reports, and continue to serve as the primary point of contact for financial and distribution entities.
• For the last phase, post-production & marketing, the “Produced by” is expected to consult personally with post-production personnel, including the editor, composer, and visual effects staff. S/he is expected to consult with all creative and financial personnel on the answer print or edited master, and usually is involved in a meaningful fashion with the financial and distribution entities concerning the marketing and distribution plans for the motion picture in both domestic and foreign markets.

With today’s large-scale productions, it is rare to find one individual who exercises personal decision-making authority across all four phases of production. However, the PGA requires that in order to earn the credit of “Produced by,” one must have taken responsibility for at least a majority of the functions performed and decisions made over the span of the four phases.

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JOB FUNCTIONS FOR “PRODUCED BY” (Theatrical Motion Pictures)

Subject to the control of the Owner, the “Produced by” in Theatrical Motion Pictures is expected to exercise decision-making authority over a majority of the following specific job functions:

Development

• Conceived of the underlying concept upon which the production is based or involved at its inception.
• Selected the material upon which the production is based and secured necessary rights for development and production of the material.
• Selected the writer(s).
• Supervised and oversaw the development process.
• Secured the initial financing.
• Served as the primary point of contact for the studio and/or financing entity.

Pre-Production

• Selected the director, co-producer and unit production manager.
• Selected the principal cast in consultation with the director.
• In consultation with the director, selected the production designer, cinematographer, editor and visual effects co.
• Participated in location scouting in consultation with the director.
• Supervised the preparation of the preliminary budget and approved and signed the final budget in consultation with the Co-Producer and UPM.
• Creatively involved in the final shooting script in consultation with the director and the writer(s) and approved and signed the final shooting script.
• Approved the final shooting schedule in consultation with the director.

Production

• Exercised final approval of the deals for the principal components of the production.
• Provided continuous in-person consultation with the director and principal cast
• In collaboration with the director, provided in-person consultation with the production designer, art department, wardrobe, make-up and hair.
• In collaboration with the director, provided in-person consultation with the stunt coordinator and on mechanical effects (if applicable).
• Supervised “on-set” and on a continuous basis the day-to-day operation of the producing team and the entire shooting company.
• Approved the weekly cost report.
• Viewed the “dailies” and provided in-person consultation with the director, the editor, the studio and/or financial entity.

Post-Production/Marketing

• Provided in-person participation on visual effects in consultation with the director, the studio or financial entity.
• Selected the composer in consultation with the director, and participated in-person with the composer and the director in the scoring process
• Provided in-person consultation with the editor along with the director, the studio or financial entity, and participated on the final cut of the motion picture.
• Consulted with the director and the editor during the preparation of the first cut that is shown to the studio/financial entity.
• Selected the music supervisor in consultation with the director, and participated in-person during the music recording sessions.
• Provided in-person consultation with the director on the re-recording stage.
• Provided in-person consultation with the director on the titles and opticals.
• Provided in-person consultation with the cinematographer, the director, the studio and/or financing entity on the answer print or edited master.
• Consulted on the media plan and materials, and the marketing and distribution plans for the motion picture.
• Consulted on the plans for exploitation of the motion picture in ancillary and foreign markets..

You have to have the wisdom to ask for professional help. We all start that way. What muddies up the whole producer thing is this whole crediting thing. Back in the day you had “produced by…written by…directed by…” Today financiers, managers, and others all want their name in there. As a producer you want to knock them out.

Producers need to earn that title. George Lucas spearheaded this thing where if you aren’t involved in a certain percentage of the film on every stage of the film, then you aren’t a producer.

Producer is responsible for every element of the film from pre, pro, post, dist, etc. He’s responsible for finding the money or getting people to find it. Good producers never put their own money into their work. Being totally independent is rare. One the whole, raise the money.

Producer is responsible for the shared vision. As a producer you may have a film in your head. The writer will have a different film in their head. The director will have another film in the head. What you need to do is get the three together and share the vision and get on the same track.

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The Stages of Production we will Cover:

• Development: This is the longest and hardest part. finding the material, going after the financing, identifying the key staff and crew (talents) that we want.
• Pre-Production: Not as long as the development stage, but can be long. You secure the material (especially if its written by someone). You need to get a revised script and screenplay. Then you hire the staff, crew, and talent. You then assemble the materials, sites, locations, etc. Everything needs to be ready.
• Production: The shoot itself, when compared to the development and pre is like a moment.
• Post-Production: It’s the assemble of the footage from rough cut, final cut. Then the artwork, sound effects, etc.
• Delivery: When you deliver the final product, there is a lot of paperwork involved. Contracts, law, legal thing, trailer, and a whole bunch of other stuff.
• Promotion/Marketing/Distribution: Festivals, getting into them and other things.

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Qualifications of the Producer

• Love to read
• Business knowledge
• Likeness to travel
• Organizational building
• Able to deal with people and being a good diplomat
• Sense of humor (the job is stressful)
• Passion and Persistance – Unless you really believe in the project you want to do, It will be difficult to stick to some of the things.

The producer is the only one that has the overall picture. You can see the crew, cameras, shoot, people, etc. Your job is to make things as comfortable and smooth for the director as possible for him to do his job.