By Paul Mason, Don Gold

ISBN-10: 1581153554

ISBN-13: 9781581153552

ISBN-10: 1581155425

ISBN-13: 9781581155426

Budding filmmakers, tv manufacturers, administrators, writers, and scholars get a career-building crash direction on autonomous construction during this riveting account of the company and its key avid gamers. Savvy insiders speak about the pivotal position the manufacturer performs because the mastermind who brings a movie or tv pilot to the reveal. From first pitch to ultimate minimize, all elements of the activity are tested: how one can enhance a profitable prospectus; draft a pragmatic timeline, price range, and lift cash; gather and deal with a skilled ensemble of writers, administrators, actors, and group contributors; oversee 3 levels of creation; distribute and marketplace the completed movie. present contacts for movie fairs and international distribution, in addition to pattern budgets, partnership proposals, and different kinds, entire this consultant to good fortune.

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Extra resources for Producing for Hollywood: A Guide for Independent Producers

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So what if you have to beg, plead, cajole, badger, make a total nuisance of yourself, put on your best dog-and-pony show. So what? Show business is your life, or at least you want it to be. Well, this is part of it. Hell, this is most of it. As an independent producer, you will spend 90 percent of your time raising money, and 10 percent actually making movies. Keep your world in perspective. Your focus must be on raising the money. In the real world, in which we all find ourselves, while you are in the process of raising risk capital, you are only a promoter.

Producing fees will depend on your film’s budget and on how many producers will be attached. What? You think you will be the only one? Forget it. A company putting up the money will not allow a firsttime producer to go off on his own. They will put another producer with you, or an executive producer, or maybe both. Again, it all depends on the budget and on the complexity of the film. Also, as the one who brought in the package, you should be entitled to a percentage of the profits. It would probably be no more than 10 percent at most, but again, this is a negotiable item.

Again, it all depends on the budget and on the complexity of the film. Also, as the one who brought in the package, you should be entitled to a percentage of the profits. It would probably be no more than 10 percent at most, but again, this is a negotiable item. So, who are these companies, and how do you get to them? There are several different ways. The two most widely read industry newspapers, Daily Variety and the Hollywood Reporter list companies with films in preparation. They also have special market issues during the American Film Market (AFM), the Cannes Film Festival, the Milan Film Festival, and MIFED and MIPED.

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Producing for Hollywood: A Guide for Independent Producers by Paul Mason, Don Gold


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