Joe The Entertainment Insurance Broker Advice

JOE THE ENTERTAINMENT INSURANCE BROKER ADVICE

HOW TO GET AN ENTERTAINMENT INSURANCE BROKER

So you have a script, are working on financing, but still need to fill in a couple of lines on your budget? Or, you are a business manager, who is working to finalize the last details on the tour budget for a band? You read down the budget lines and see “Insurance”, what do you put in there? Who do you call to find the right ‘insurance’ number?

Finding and Entertainment Insurance Broker to help you fill in the insurance lines in a production budget, is simple, but finding the right one, may take a little more effort. Many first time producers may look to online guides such as www.mandy.com, www.newyork411.com, or www.la411.com. These resources are beneficial for a producer who is working in an area and in need of local assistance. I also recommend that if you have not previously worked with a broker in the past, you speak to your line producer, production accountant or to rental houses that you have a relationship with. They would be able to recommend someone with whom they have worked with in the past and are happy with.

Joe The Filmmaker Guide: Film Investing-More Is Better?

JOE THE FILMMAKER GUIDE

MORE IS BETTER?

FILM INVESTING 101

When considering to ask for funding for a feature film or any project, asking for, “More Is Better!” Why is this statement so shocking yet true? When investors seek to finance your film, they want to see real numbers. They are not looking at your top line movie, they are looking at your bottom line dollar amount. The dollar amount tells them that there is a viable interest in this film because the money invested must be worth the ROI (Return On Investment).

Once you have finished your screenplay it is best to plan out a reasonable budget then, double that budget by five million and you have the true total of a semi-successful feature film. Other film and television projects may cost less, but making a movie money cushion will give your investors a better reason to look twice at your film proposal.

Steps To Creating A Film Production Proposal That Works.

1. Executive Summary-Statement about you/your company and why you are proposing the film.
2. List Film Creator (s)/Producers-Writers/Directors/Producers associated with the film.
3. Length Of Production-What is your production schedule? Time=Money.
4. Production Title-Legal Title Of your film.
5. Production Target Audience-What audience are you selling this film to?
6. Production Scope/Outline-The complete treatment of the film.
7. Production Goals/Outcome-What do you hope to accomplish with the making of this film?
8. Production Technical Requirements-What equipment/Tech requirements are needed in the making of this film?
9. Proposed Production Sites-What are the potential production sites? Time+Sites=Money.
10. Production Crew Requirements-Production amount crew/cast needed for this film?
11. Production Proposed Budget-Projected Budget of full length film. ( Cost from script to screen)

Just like writing a business plan, a film production proposal tells your investors/distributors how your film will work for the viewing public as well as bring them a return on their investment. If your production proposal is clearly planned out you will have no problem seeking funding.

There are many film investors waiting to invest in the next big undiscovered movie. If you are a screenwriter, and are interested in producing your films, create your film production proposals and brush up on your film contract law, and you will go further then the Joe that’s waiting for someone to read is query letter on the bottom pile of a studio execs desk.

So, you Joe’s who are willing to go the extra mile, the work is well worth the weight in box office gold when you get the deal you want by bumping up your bottom line, so film investors can fell better about their investment.

STAY TUNNED FOR MORE ADVICE FROM JOE THE FILMMAKER…

Joe The Previs Arist Advice

Joe The Previs Artist Writes:

As any real plumbers know, nobody starts building expensive houses without clear blueprints. However, movies get into productions with unfinished scripts, without storyboards, and also without accurate pre-visualisations done.

Now when the times are tough, We suggest two things any good film architect and plumber should do:

1. Revise and review your script as many times as needed. There is great number of incredibly capable script-analysts that can help you with your story.

2. As soon as you get some money in, start doing previs, superprevis, actually prototype/blueprint of your movie. It’s visual media after all.

Probably all of you got dirty hands from many pipes done, and you know that whatever hard work you put in, when the blueprints are not good, water will always keep drippin…

To get back to plumbing issues: It seems that most of productions can improve their output by having better preproduction. Our question is: Which group of Joes can help us try suggesting the key improvements for movies’ preproduction? It’s investment/production/distribution thingy, but how can you get in front of all those people that can chip-in with their wisdom? Perhaps here?

Joe The Filmmaker Guide: Creating A Webisode

JOE THE FILMMAKERS GUIDE TO

HOW TO CREATE A WEBISODE

By: DT Productions Staff

A webisode is essentially a streaming television show that is broadcast over the internet. Like any, “Days of Our Lives,” or “As The World Turns,” people are interested in the on going saga in the lives of everyday people. With the use of YouTube or other streaming video sites you are able to construct a webisode that could be broadcast to millions on a daily basis.

Please follow these steps in order to create a successful webisode.

1. Create a reality pilot for your webisode.

Your pilot must be original, high conceptual content and current for today’s culture. The name of your webisode must also reflect the pitch and goal of your program.

2. Set the framework for your webisode.

You must answer the important questions when considering the construction of your show; Who are my guest? Who are my potential audience members? What is the overall theme of my webisode? What is the ultimate purpose of my webisode and how do I want my webisode to end? Plan out your first 10 webisodes from A-B with site details, character models, scene settings, and webisode events. Do your research on the topic/subject matter of your show and be sure to add an twist to your show to interest your audience.

3. Scout your cast and crew.

After your framework and research are completed scout for actors, or live participates who are willing to speak on camera about their experience relating to your webisode. The only crew you will need if any are; a sound assistant, a production assistant and yourself. Anything more then this is a feature film crew.

4. Create a website dedicated to your webisode.

Even though you have the networking sites like youtube and myspace, video is a product and it’s all about, “BRANDING,” with your webisode brand, people will be able to pick you out of a crowd instead of being a needle in a haystack. Working with a blog site that is attached to a domain name will give you better visibility. With the combination of key words, people will be able to find your webisode over those who are buried under the pile of other webisodes.

5.Proper Webisode Equipment.

The proper webisode equipment needed is; a professional video camera, proper lighting, body microphones for your guest, and/or hand held sound equipment. If your budget doesn’t fit professional film equipment in it, then using HD Digital camera equipment, sound equipment and proper lighting is appropriate. Using a webcam is not appropriate and can diminish your video quality.

6. Schedule your webisode.

Proper time scheduling will allow you to organize your webisode and give you the advantage of preparing need materials ahead of time so no video feed is wasted. Be sure to stay consistent with your viewing times, your viewing audience will love and appreciate you for this. Exp. Jack and Jills Webisode New Episode every Monday at 8:00pm.

7. Broadcast your webisode.

It may seem silly, but send out a press release when your webisode is ready to launch. Websites like PRweb allows you to upload free press releases and will give your new viewing audience a heads up to look forward to your coming show. There are other free press release sites that you can look up, make sure you take advange of them, you could get more viewers then you realize with this assistance. Produce a coming soon teaser trailer so that online viewers will also look forward to your up and coming webisode. Networking and marketing on; craiglist, myspace, twitter, facebook and other social networking sites won’t hurt either.

Once completely edited, upload your 15 minute webisode to your myspace or youtube channel and watch your viewers grow! Give them what they want to see and listen to their objections to any part of your webisode and be willing to change accordingly.

8. Unsuccessful Webisodes.

If your webisode is unsuccessful then go back to the drawing board, and do more research about the topics and information that others are seeking to view. Or, revise your current webisode that reflects a freshen updated version of the original.

9. Successful Webisodes.

Congratulations! You did it, now keep going, you are the next online, “As The Web Turns.”

For an live example of a live webisode please visit http://www.defineyourself.ca/webisodes.php

LOOK FOR MORE ADVICE FROM “JOE THE FILMMAKER.”

Next Column: How To Make A Successful Reality TV Pilot Sale Quickly

Joe The Filmmaker’s Guide: Feature Script In 10 Day

JOE THE FILMMAKER’S GUILD TO WRITING

A FEATURE FILM SCRIPT IN 10 DAYS

Written By: DT Productions Staff

The expression on your face tells it all, and your wondering? I’ve spent almost a year on my script! How in the world do you propose that I can complete a full script in 10 days? Well, the answer is simple, by using voice activated software or digital tape recorder. Of course you didn’t think you could fully write a full feature script in 10 days did you? You probably could but, you would need lots of coffee and clothes pins to keep your eyes open.

One of the widely used speech recognition software is Nuance, Naturally Speaking software. (www.nuance.com/naturallyspeaking) With this software you can audiably speak and the software will write the script as you speak. This process is no walk in the park, it requires pre-planning and script organization. Please review the ten-day schedule to insure accuracy in completing the writing of your feature screenplay.

JOE THE FILMMAKER’S 10 DAY SCRIPT OUTLINE

(Use Index Cards For Note Organization)

Day 1

Brainstorm script idea.

Write synopsis/logline

Day 2

Create individual characters w/descriptions

Day 3

Write full film treatment

Day 4

Write 2 paragraph description of each Act (2 Beginning/2 Middle/2 End)

Day 5

Write scene headings by Act

Write 1 paragraph description per scene

Write action lines by scene

Day 6

Organize the order of your script notes from Day 4 & 5

Day 7

Improv Voice Record Act 1-2

Day 8

Improv Voice Record Act 3-4

Day 9

Improv Voice Record Act 5-6

Day 10

Complete full recording/record additions/script corrections

End of Day 10 Full 1st Draft of sound recorded script!

This is a fun creative way of writing your script. This process is very improvisational and allows your creative juices to flow as you speak forth your script. Don’t get us wrong, you will edit this form of script a few times before it’s complete, but completing your first draft will be a cinch! If you can’t afford voice recognition software then you can use a digital tape recorder and replay back and type your script as heard.

For more information about speech recognition software please search key words: dragon naturally speaking, naturally speaking, voice recognition software, speech automated software. These key words will help you find the software you need to get started.

FOR MORE ABOUT JOE THE FILMMAKER PLEASE STAY TUNED……

Joe The Filmmaker Guide: Film Distribution The Cheap Way

SO WHAT ARE THE ODDS OF

WINNING A FILM DISTRIBUTION DEAL?

Written By: DT Production Staff

The truth is winning a Cannes or Sundance Film Festival are slim to none! We believe the only way we can make it into the big time film industry is if our film wins or places at film festivals. Film festivals are political and only consider a narrow range of film genres. Yes, this is a sure way to get a production deal but is it the ONLY way? No, there are hundreds of distribution outlets that independent film makers can take advantage of.

Websites like youtube, and myspace allow you to grow a network of viewers around your films to gain interest. This platform is free and is viewed my millions of video watchers per day all around the world. Websites like, Ning.com allows you to build a social network site so the viewers of your films can socially network and have full community discussions about your films.

Also, a low cost way to start your own online film distribution company is to use websites like; LuLu. com and creatspace.com, which allows you to have an inventory free publishing platform. Createspace especially is linked with Amazon.com and so you have immediate film distribution. Or you can do it the old fashion way, produce copies out of your damp basement with DVD burning equipment you bought off ebay and start churning and burning.

If you are going to take the path of independent film distributor then, please make sure your DVD prints are professional. Link with graphic artist to design your DVD cover print, contact your local printer office and contract a paper production deal to make X amount of copies of print for really cheap so that you can keep your cost low. Great printer companies have printing pressing machines where they can kick out thousands per minute, if they have choose that option, stay away from ink jet printing. If you don’t have much money you can slowly build up your inventory, and just like a hustler on the street sell your movie! You are your best asset! Music Moguls such as Jay Z and P. Miller started distributing their, “product,” out the trunk of their cars. If your film product is great, then your copies will fly out the trunk of your car.

Also, Network! Establish an account with LinkedIn and join groups that will help you grow as a professional. Give as much information as you can about yourself, because selling yourself is the same as selling your product.

THIS IS PART 1 OF FILM DISTRIBUTION THE CHEAP WAY..STAY TUNED FOR MORE TIPS AND ADVICE FROM JOE THE FILMMAKER!

Joe The Filmmaker Guide: From Script To Screen

FILM MAKERS PRE-PRODUCTION – PRODUCTION OUTLINE
Updated and Revised By: DT Productions of Upstate NY
Style Credit: Cinema Workshops

1. SCHEDULE PITCH.
A pre-meeting must be scheduled with the film studio, producer or director in interest of your pitch prior to the meeting at which you plan to deliver your pitch.

2. PITCH.
Members pitching a project must bring to the meeting:
a. A one-page synopsis of the story and an overview of the project containing as
many details as the filmmaker can provide about how he or she envisions the
project unfolding. Multiple copies should be provided.
b. A typed screenplay in standard format. One copy should be supplied for each
speaking part plus one for the narrator. More copies may be supplied if the
filmmaker wishes.

3. PROJECT GREEN LIGHT
If the project is greenlit, the filmmaker should hire a producer. The
filmmaker is also expected to meet with the film studio staff to pitch the full filming project.
* If the project is not greenlit, the filmmaker may choose to work on the script and
re-pitch, in which case the script will need to be rewritten, and once completed, reschedule another pre-meeting to pitch your story again.

4. HIRE PRODUCER.
If the filmmaker chooses, he or she may also produce their project. If they would
like help bringing all the elements together on a potentially complex project, he or
she should recruit a producer with notable credits of films he/she has produced.

5. PRE-PRODUCTION PAPERWORK
The producer should obtain a copy of the script from the filmmaker and work with
the director to complete the breakdown sheets, storyboards, budget outline, and
rough shooting schedule. If the producer would like to do any of the paperwork, he or she should meet with a film production consultant to insure all paperwork is filled out correctly.

6. CHOOSE DATES
Upon completion of pre-production preparations, the filmmaker will be expected
to meet with the film studio for approvals and to choose their shooting dates.

7. SCHEDULE EQUIPMENT RENTALS AND CREW.
Filming equipment rental and filming crew needs to be scheduled in advance for, product availability and cost preparation. You must also hire notable film crew members who’s availability coordinate with your production dates and time.

8. SHOOT.
Make sure a all site locations and permits are secured for shooting locations. A site hazard list and potential site complications should be noted and take into consideration reduce complications. A specified shooting time table must be constructed to reduce film cost and site availability restraints.

9. FILM PROJECT DEADLINES
The filmmaker is also expected to meet with the film studio’s deadlines. It is the responsibility of the filmmaker to provide updates on a regular basis. If a filmmaker misses a step the project could easy go from GREEN light to RED light which means your film can be canceled at any time. Organization and time keeping are essential in the process of productive film making.

10. DELIVERABLES
The filmmaker must insure that the film stock has been well maintained during filming and prepared for delivery. The film deliverables must be available for delivery on the specified ending film date for proper editing and final distribution.

Joe The Filmmaker Guide: Recession Looms, Hollywood Blooms

LAS VEGAS – Hollywood thrives when the economy dives.

It was true during the Depression, when Americans scraped together nickels and dimes for an escape to the movies. And as the prospect of another recession looms, studio executives say this time is no different.

As evidence mounts that people are tightening up on other expenses, movie attendance this year has been running ahead of 2007 numbers – welcome news at ShoWest, the annual convention of theater owners that opens here today.

Domestic box-office revenue went up in five of the past seven recession years dating to the 1960s, according to research compiled by the National Association of Theatre Owners.

While budget-conscious consumers in today’s economic downturn may hold off buying that 50-inch plasma television, “it seems they can always pull together the money to go to the movies,” film historian and critic Leonard Maltin said. “They’re not making a monthly commitment or a down payment. They’re just shelling out the 10 bucks.”

Economists are still debating whether the U.S. economy is headed for recession – or already in one – but closely watched indicators have been bleak, with employers shedding jobs and consumers reeling from high gas prices and tight credit.

Meanwhile, Hollywood is more than holding its own, with revenue running 4 percent ahead of last year’s, according to box-office tracker Media By Numbers.

Factoring in higher admission prices, attendance was up 7 percent over last year as of a few weeks ago, before the arrival of a few box-office duds, including the Will Ferrell comedy “Semi-Pro.” Attendance has since fallen back to a gain of 0.5 percent.

Though virtually everyone gripes about the cost of snacks at concession stands, the average movie ticket price last year was $6.88 – cheaper than sporting events, concerts or a night out bowling.

“Most people would believe that offers a very good value. It’s certainly much cheaper than a psychiatrist,” said Dan Glickman, who heads the Motion Picture Association of America, Hollywood’s top trade group. “To go into a darkened room where nobody can find you for two hours is great therapy, particularly when times are bad.”

Since the Depression of the 1930s, when a quarter or less could buy a full day’s entertainment at a theater, movies have been a refuge for the cash-strapped – as a place to forget about everyday troubles and a way to stretch tight household budgets.

Amid America’s longest and bleakest economic bust in the 1930s, movie attendance tumbled initially as investment money for films dried up. But in the heart of the Depression from the early to late 1930s, attendance shot up.

While detailed box-office figures were not released back then as they are today, as many as 4.6 billion movie tickets a year were sold in the 1930s – three times more than in 2002, the best year of modern times. And the U.S. population during the Depression was less than half of today’s 300 million.

But for all the technological improvements, the basic lure of movies is the same as it was in the Depression – the chance to get away. And that may be especially powerful in a time when economic woes are heavy on Americans’ minds.

“It’s escape from everything,” Maltin said. “It’s a chance to, like all those song lyrics, ‘forget your troubles, come on get happy.’ ”

Joe The Filmmaker Guide:Film Agent/Agency List

Any one seeking an agent should first write or telephone the agency and find out whether or not your a good match. Each agency specializes in representing certain types of material. Some agencies have specialized divisions. You should briefly — very briefly! — detail your background and describe your material. The agency will let you know whether or not it is interested in the material and to whom you should send it.

Most agencies, as a courtesy to writers, will return material sent to them if a self-addressed stamped envelope accompanies the submission. However, if you’re submission is not returned for any reason, you should know that the agency has no obligation to do so.

Which is why we strongly recommend that you register your script before sending it to anyone.

Joe The Filmmaker Guide: Movie Mogul Tips II

Source: Movie Making Marketing

Success in Hollywood lurks beyond luck and beyond networking in a magical black box. Demo reels show instead of tell — and that’s the secret to success on-screen and off. The digital world has made it possible to make a demo reel happen in a new way — your way. Breaking into Hollywood is daunting, even for experienced pros who have relocated from other intense media cultures.

Self Starters Win the Roles

Gather a group of talented, hand picked people around you to accomplish a specific goal — a shared reel. Making a reel can be an overwhelmingly complex, slow system of getting a reel together, as well as the high cost.

Improv techniques focus on producing art in the moment, and it bounces off the other members of the team. Performance comes out of what the audience sees, not what you plan to do.” Get your team together and interact. Share knowledge and talent to create a piece that fits all your needs.”

Launching a Cooperative Group

Gather people you know, and people they know who want to work on specific scenes. A lot of people are eager to work, so put them together to create an improv situation.

The idea is really simple —– you all need scenes for your reels. Scenes that look like they’’re out of a teleplay or feature film. Scenes that fit criteria for exactly what each person needs to show off their skills in the best possible light.

And low cost.

By gathering together an informal group who also needs to accomplish a very precise objective —– 60 second demos with high production value. Gather together a complete volunteer, mini-team for a mini-project.

This one-day shoot can produce one or more 60-second clips set in the same location.

By including scriptwriters who can write scenes to meet the volunteers needs — and a couple specs for people to sign onto — you can maximize efficiency of time onset.

Independent filmmaking with volunteer crews is notorious for no-shows. Qualify the people who are invited. Focus on results. Keep it informal and friendly. Keep costs down — way down. Keep quality high — feature level. Self-interest is the strongest motivator there is.

The trick is to bring together people who can help one another at the same time they have something valuable to gain

The goal is for every member to add a piece to their demo reel within weeks — if not a couple months. Then all the participants can take the next step in their careers.”

With the cost of technology going down, it’s possible for home-based creatives to shoot, edit and duplicate these scenes with very high production quality.

A truly professional group is more productive than volunteering for student-run projects. For several reasons — student films are longer, and production spans several months. Students aren’t accomplished at production — or business. Things get lost in the cracks — like your footage!

Having the right director for a scene is crucial — so make sure you include professional directors who want footage for their own reel. Directors frequently want to show they can cross over to a new genre, or work with a specific kind of actor or script. They can be as motivated as actors! And often are more organized and results driven. And that motivation and skill is what you need leading a project.

“When everyone is self centered, self motivated — doing it for self — you can depend on people being there for themselves more than for those who are just being nice. You can trust selfish people more than nice people.

Everyone who has been involved in projects with no or low budgets knows you have to ask for twice the crew because half will ditch at the last minute. You might have to turn down 50% of the volunteers for a shoot as you select the team who has something tangible to gain from the project.