Producing

Hope you and everyone have a great time at AFM, Toni D'Antonio! Safe travels!

Sounds great, not attending this year, but planning to next year with our new software for independent filmmakers with Gemini Crown Tech!

RB has been preaching this for a while. International Co-Productions are where its at - not only for indie features but for so many TV series, especially European ones. Everyone needs to be thinking globally and know that everything is possible.

Sam Sokolow thanks Sam. Yes, RB has been preaching this for a while and I’m happy to see that it now seems to have wings!

Wow - what a great lineup - so many opportunities for growth and knowledge in all of these disciplines. Thanks for sharing, Maurice Vaughan. Flagging this for my network to check out.

You're welcome, Sam Sokolow. Thanks for flagging this post!

We've got quite a line up :) Email me at edu@stage32.com with any questions about our upcoming education! Thanks for sharing Maurice!

You're welcome, Sydney S.

Thanks Chase. In my book, it's best to be upfront. I don't want to misrepresent myself or literally make money for someone who would use that money to fund something I was against. I'm not into agenda creating or overblown budgets. I just want to entertain a large percentage of the population. Being honest and upfront has its disadvantages. Elites don't want to work with people with integrity because they are usually up to their necks in immoral and illegal endeavors that a honest person might try and stop it. It's easier not working with someone like that than faking their suicide or hiding the body. Good thing is, I'm 63. If I find honest people to work with, great. If I die an unknown, I won't give a flying rodent's rump because I'll be dead and I'm sure the afterlife, if there is one, won't care either especially if it's just oblivion. If it's just oblivion at least I'll finally be able to get some uninterrupted sleep. I can only win.

Do track records really matter, Dan? Martin Brest directed Scent of a Woman then Gigli now he doesn't direct anymore. Any writers and directors that have worked on Disney, Marvel and Star Wars have probably lost $1B combined and they are still working. Track records don't mean anything. You want my track record? 1) You'll never catch me on a Diddy Freak Off video and 2)I haven't lost anyone any money especially not in the $100M range. If that's not good enough for producers and investors, they can go paper shred all their incriminating evidence. I appreciate your suggestions, Dan. I'm thinking of a YouTube show but I have design it so I only piss off the people that I want to. I have nothing to lose. The world does but I'm fine.

If thats your attitude, good Luck.

Im gonna delete my first comment on this post for my own peace of mind

You feel how you feel, DT. I don't believe in BS and like to be upfront. If that turns people off, I can deal with that. People in this industry have to be on the same page. If speed readers try and play with slow readers, it just cost money and I like to keep my numbers under control. Nothing wrong with stretching. Before every contest, it's a good idea to stretch. You don't want to pull a muscle while you're trying to win.

You don't need luck when you're dealing with the truth. You just need other honest people that can execute plans with integrity and discipline.

I think Superhero movies need to have better stories and better CGI to keep fans interested in them and get more people to watch them, Sam Sokolow. I like the idea of entering a golden age of independent film and original ideas though!

Back in 2014, when I was still with the studio we had the conversation on franchise fatigue (i.e. Marvel and DC). These movies do not have to be mega-budget shows. Tell a good story first and foremost, and scale those budgets back. Monetary controls will make filmmakers more creative. Jumping to the increase in production, I do not feel that all the product (film and TV) will be good. When typewriters became affordable there was the expectation of a flood of great novels. Yes, there was a flood of novels and not all of them were great.

Lol last week The Hollywood Reporter said that movie audiences are having horror fatigue.

Dont know whats the answer but Marvel is all-in with the Russo brothers next huge comic book franchise and paying RDowneyJr $80-$100M salary to be cast as Dr Doom.

The thing about movie flops, the creative team sometimes still makes income to survive for years. Dvd & streaming sales, airplane views, tv broadcasts.

The screenwriter of Cat Woman, a box office flop, said he made the most $$$ payday off Cat Woman than any other movie he's done.

I'll fix it! Send me some money and I'll get them back on track!

Good to see the success of Spain in the film and tv market!

Awesome! More action, more thrills, more creativity!

Great share, David Zannoni! It's so exciting to see Spain building their production infrastructure and betting on the future of content - and content creators. What an exciting time to be in production all around the globe.

1st suggestion don't tell anyone you have money. 2nd suggestion don't tell anyone you have the money. You need to research the heck out of this and find some honest people. Act like you have nothing and you'll soon sort out who is genuine and who is not.

Hire lawyer and set-up an LLC, and then hire a line producer. Everyone is your employee & signs contracts and fire ppl who dont deliver.

What Dan said (above)!

You need to bring on a producer that you can trust who has experience making films in your budget range, whatever that may be. If they've done a film at your price point before, they know how to deliver (not just start) and will have relationships with other crew members to bring on board. You'll want to vet them carefully and call their references yourself or research folks who have worked with them before and reach out to them cold asking how their experience working with the producer was. That feedback is important. And you do want every relationship you bring on to be a work-for-hire that you can replace if things aren't going as expected and who must get your approval on other key hires and expenditures over a certain amount, etc. This will, in effect, make you a producer, as well, but the "buck stops here" producer more than the functional producer who oversees and manages the production. That way, you're being responsible to the financier(s), you'll learn a ton, and in success you can build on the relationship with the financier(s) to perhaps make more movies together. You can email me anytime at edu@stage32.com if you'd like suggestions of Stage 32 courses on producing that will help you understand the job and responsibilities.

I agree with what Rebecca James says - don't tell anyone you have the funding. You need to be careful on who you align yourself with and people will take advantage of that. Sam Sokolow who is on this thread is a great neutral person you can bounce questions off of. He's an Emmy-nominated producer and has produced for 2 decades. I'd also recommend this class as a great starter for you, it goes over a lot of the nuts and bolts of what you are about to embark on: https://www.stage32.com/education/products/stage-32-4-part-producing-cla.... Keep us posted on how it goes, it's very exciting!

Yes, horror sells but who keeps the profit? Wish there were articles how the profits are divided up.

This Past year the crew and cast of the Blair Witch project publicly said on Twitter X they didnt get $$$ from the success of TBWP, then and now. So who kept the profits?

My guy worked at Dreamworks when they were doing postproduction & marketing for Paranormal Activity. Ppl would be shock if they found how little the director/creator made off the movie. Lol no surprise Steven Spielberg owns a $250M+ yacht.

Showbiz is best when you dream with your eyes open...