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December 14 2010
Indie Film Capitalism #12
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?
October 18 2010
Indie Film Capitalism #9
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…
September 10 2010
Indie Film Capitalism #8
It’s been awhile! As politicians are heavily campaigning, attempting to add constituents money to their political coffers in return for “favors” or “supporting” their political agenda, there are many lessons to be learned on the fund raising front. Some of which I have done in the past and will be doing in the future.
PARTIES
I could cover a wall with the political meal invites I have received this season from my politician friends. Throw a party, EVERYONE loves a party especially if there’s a good reason. Over the years I have held cocktails parties, sit down dinners and “get canned with Zeke” (parties specializing in amazing canned beers) blowouts to raise funds for various film projects. Some have been successful, others not. The lessons learned: invited cast or a special guest, people need a reason to fork over their money and to get them excited. Know who you should be inviting. Aunt Lulu may not drink canned beer, she’s a draught sort of gal so invited her to the cocktail party featuring vodka X. Get brands or restaurants involved. People can identify with these things and they bring more excitement to the event. Don’t be afraid to ask just make sure there is some sort of return for them on their investment aka booze donation. Send out invitations, via mail, email, facebook events. The way you invite people should be a reflection of the type of event it is. I have raised as little as $380 to over $7,000.
CROWD FUNDING
There a couple of crowd funding sites out there where people can donate at various levels in return for perks. I really like indiegogo. They have an amazing tool kit and innovative ways to help artists achieve fund raising success. They’re also approachable and hands on. I plan on using them on my next project which I will be announcing very shortly. A friend of mine is currently using kickstarter for his innovative project the 8mm Film Project. My biggest suggestion; when it comes to crowd funding, give away perks that are unique and worthwhile and have a project that resonates with people. My wife and I were shocked when someone we did not know from California donated $500 to her Hand-Some Journey campaign.
THE ASK
Do not be afraid to ask for money outright. Send out a donation pamphlet describing your project and the different levels that people can support you. Remember fund raising is a campaign it’s an uphill battle and you need as many tool in your arsenal as possible. Be a little bold. If you believe in your project, you are the best salesperson to pitch your project and raise money for it. I have had politicians personally ask me for my financial support and I didn’t get much in return. Go to public events where you might run into people that you sent information to, follow up with them, ASK them.
SALES
Often times politicians will call on certain supporters to help them raise money by holding sales: bake sales, hunting trips, car washes, etc. Be different. Hold a Ballyhoo for a Kazoo sale! Sell kazoos outside your local supermarket. Kids will love ‘em and it will drive the shoppers crazy, thirty kids playing their kazoos in the store, imagine the sight. Really there are so many ways to sell things to raise funding.
LOCAL MONEY
Every town or city have different resources that could be used to tap into your fund raising efforts. Grants, scholarships, access to public equipment, etc. Make a list of things you will need in your budget and try to obtain the use of the item through your local community. Let’s say you need passenger vans, ask your local YMCA. You need a condor for a shot, ask your township maintenance department. It never hurts to ask and be creative in your ask, always give something in return.
I’m certain there are so many ways that politicians are raising money that we all can learn from. Over the next couple of months I will be writing about how I’m raising money for my next project. I know it isn’t going to be easy but I will share my insights and lessons as they are happening.
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