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.

When you start the process of finding a broker with whom you feel comfortable, some of the questions you may want to ask are:

Are they able to bill you in a specific state in order for you to take advantage of tax benefits in that state?

What insurance markets do they have access to?

What is the process to have certificates issued?

What are their hours and do they have after hour emergency contacts?

You can also see if they can provide a ballpark estimate for you to input into your budget.

If you are a band or tour, your business managers, booking agents and attorney’s, would be your source in finding an Entertainment Insurance Broker to help you. While there are multiple Entertainment Insurance Brokers, you must realize that some specialize in Film or Events and others have specific expertise in music bands and tours or events.

When calling a broker, you would want to ask them questions such as:

Who are some of the artists they have worked with in the past?

What Genre of music are they typically working with?

What is the process to have certificates issued?

What are their hours and do they have an emergency contact person available?

Once you have secured a Broker to work on your behalf, you will want to have a good indepth conversation with them at least via the phone to discuss the project, locations, any pyrotechnics, stunts, special effects, or other details that are ‘special’ to your project. The broker should request a copy of the script, budget and a synopsis. If there are any special details, they will need additional information such as types of pyros or stunts and who are the coordinators responsible for these.

A Couple of things to remember:

You can always ask for referrals, no matter what type of entity you are and what your work is: film, tv, documentaries, commercials, music, etc. All Entertainment Insurance Brokers, will have clients who are willing to provide a solid reference.

There are only a few markets out there willing to insure a project. Once one broker has submitted to a market, it is blocked from all other brokers unless formally handed over via a Broker of Record Letter. Find one Broker to work with and their job is to submit and request quotes from ALL markets who write the project you have. When you try to work with more than one broker, you can delay the quoting process.

Be sure that all of the corporate entities are listed as Named Insured. This should include the main production corporation as well as the subsidiary LLC that is created for the project or tour at hand. For Bands, be sure that any clothing, merchandising or other related subsidiaries are listed on the policies as well.

Are you getting the service you deserve? If you do not feel that you are being given the attention you deserve, find another broker. Your broker should be able to find time for you to review any insurance clauses in distribution agreements, location agreements or rental contracts in order to be sure that they are quoting to you the insurance that fits your needs.

Finally, ask questions about your coverage. There are many types of coverage available from General Liability, Auto, Workers Compensation, Excess/Umbrella Liability, Property/Equipment/Production Package, Watercraft/Aircraft, Foreign coverage and more.

For more questions or information, feel free to call me: Bethany Thomas, CBS Coverage Group Inc, (516) 394-7553.

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 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 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

]]> http://joethefilmmaker.wordpress.com/2008/11/28/joe-the-filmmaker-guide-creating-a-webisode/feed/ 0 returnofthewiz joe-the-filmmaker1 http://joethefilmmaker.wordpress.com/2008/11/28/joe-the-filmmakers-guide-feature-script-in-10-day/ http://joethefilmmaker.wordpress.com/2008/11/28/joe-the-filmmakers-guide-feature-script-in-10-day/#comments Fri, 28 Nov 2008 00:38:24 +0000 returnofthewiz http://joethefilmmaker.wordpress.com/?p=47 ]]>

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……

]]> http://joethefilmmaker.wordpress.com/2008/11/28/joe-the-filmmakers-guide-feature-script-in-10-day/feed/ 0 returnofthewiz joe-the-filmmaker1 http://joethefilmmaker.wordpress.com/2008/11/28/joe-the-filmmaker-guide-film-distribution-the-cheap-way/ http://joethefilmmaker.wordpress.com/2008/11/28/joe-the-filmmaker-guide-film-distribution-the-cheap-way/#comments Fri, 28 Nov 2008 00:36:04 +0000 returnofthewiz http://joethefilmmaker.wordpress.com/?p=45 ]]>

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!

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.

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.’ ”

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.

NEW YORK

ABRAMS ARTISTS
AGENCY (L)
275 SEVENTH AVENUE
26TH FLOOR
NEW YORK, NY 10001
(646) 486-4600

**AGENCY FOR THE
PERFORMING ARTS (P)
485 MADISON AVENUE
NEW YORK, NY 10022
(212) 245-1647

ALLAN S. MEYERS
AGENCY
105 COURT STREET
BROOKLYN, NY 11201

AMRON DEVELOPMENT,
INC. (L)
474 FULTON AVENUE
HEMPSTEAD, NY 11550
(631) 692-2830

ANN WRIGHT
REPRESENTATIVES
165 W. 46TH ST., #1105
NEW YORK, NY 10036
(212) 764-6770

ARCHER KING, LTD. (L)
1650 BROADWAY, STE. 407
NEW YORK, NY 10019
(212) 765-3103

BARBARA HOGENSON
AGENCY, INC.
165 WEST END AVE., #19
NEW YORK, NY 10023
(212) 874-8084

BRET ADAMS, LTD.
448 WEST 44TH STREET
NEW YORK, NY 10036
(212) 765-5630

CURTIS BROWN, LTD.
TEN ASTOR PLACE
NEW YORK, NY 10003
(212) 473-5400

DEE MURA ENTERPRISES,
INC. (L)
269 WEST SHORE DR.
MASSAPEQUA, NY 11758
(516) 795-1616

**DON BUCHWALD &
ASSOCIATES
10 EAST 44TH STREET
NEW YORK, NY 10017
(212) 867-1070

**DOROTHY PALMER
AGENCY
235 W. 56TH ST., #24K
NEW YORK, NY 10019
(212) 765-4280
**DUVA-FLACK
ASSOCIATES, INC.
200 WEST 57 ST., #1008
NEW YORK, NY 10019
(212) 957-9600

EARTH TRACKS ARTISTS
AGENCY
4809 AVENUE N, #286
BROOKLYN, NY 11234

EDYTHEA GINIS SELMAN
LIT. AGENT
14 WASHINGTON PL.
NEW YORK, NY 10003
(212) 473-1874

**FIFI OSCARD AGENCY,
INC.
110 WEST 40TH ST.,
16TH FL.
NEW YORK, NY 10018
(212) 764-1100

**FLORA ROBERTS, INC.
275 SEVENTH AVENUE,
26TH FLOOR
NEW YORK, NY 10001
(646) 486-4600

**GEORGES BORCHARDT,
INC.
136 EAST 57TH STREET
NEW YORK, NY 10022
(212) 753-5785

GERSH AGENCY, INC.
(THE)
41 MADISON AVENUE,
33RD FLOOR
NEW YORK, NY 10010
(212) 997-1818

**HAROLD MATSON CO.,
INC.
276 FIFTH AVENUE
NEW YORK, NY 10001
(212) 679-4490

*HENRY MORRISON, INC.
105 S. BEDFORD ROAD,
SUITE 306A
MT. KISCO, NY 10549
(914) 666-3500

**HUDSON AGENCY
(THE)
3 TRAVIS LANE
MONTROSE, NY 10548
(914) 737-1475
I
NTERNATIONAL
CREATIVE
MANAGEMENT (P)
40 WEST 57TH STREET
NEW YORK, NY 10019
(212) 556-5600

**KALLIOPE ENTERPRISES
15 LARCH DRIVE
NEW HYDE PARK, NY
11040
(516) 248-2963

KINGDOM INDUSTRIES
LTD. (L)
118-11 195 STREET
BOX 310
ST. ALBANS, NY 11412
(718) 949-9804

**LASERSON CREATIVE
358 13TH ST.
BROOKLYN, NY 11215
(718) 832-1785

LAURENS R. SCHWARTZ
ESQ. (L)
5 EAST 22ND ST., #15-D
NEW YORK, NY 10010

LIONIZE, INC.
2020 BROADWAY, STE. 2A
NEW YORK, NY 10023
(212) 579-5414

LITERARY GROUP INT’L.
(THE) (L)
270 LAFAYETTE ST.,#1505
NEW YORK, NY 10012
(212) 274-1616

AGENCY LIST

**LUEDTKE AGENCY
(THE) (L)
1674 BROADWAY, #7A
NEW YORK, NY 10019
(212) 765-9564

*LYLE STEELE, CO., LTD.
511 EAST 73RD ST., #7
NEW YORK, NY 10021
MARCIA AMSTERDAM

AGENCY (L)
41 WEST 82ND STREET
NEW YORK, NY 10024
(212) 873-4945

MARIA CARVAINIS
AGENCY
1350 AVENUE OF THE
AMERICAS, STE. 2950
NEW YORK, NY 10019
(212) 245-6365

MCINTOSH AND OTIS,
INC. (L)
353 LEXINGTON AVENUE
NEW YORK, NY 10016
(212) 687-7400

MICHAEL AMATO
AGENCY
1650 BROADWAY
SUITE 307
NEW YORK, NY 10019
(212) 247-4456

MILESTONE LITERARY
AGENCY
247 WEST 26TH ST., #3A
NEW YORK, NY 10001
(212) 691-0560

MIRIAM STERN, ESQ.
303 E. 83RD STREET,
SUITE 20F
NEW YORK, NY 10028
(212) 794-1289

**OMNIBUS
PRODUCTIONS (L)
184 THOMPSON #1-G
NEW YORK, NY 10012
(212) 995-2941

**OTTO R. KOZAK
LITERARY & MOTION
PICTURE AGENCY
114 CORONADO STREET
ATLANTIC BEACH, NY
11509

PARAMUSE ARTISTS
ASSOCIATION
25 CENTRAL PARK WEST
NEW YORK, NY 10023
(212) 758-5055

*PEREGRINE WHITTLESEY
AGENCY (L)
279 CENTRAL PARK
WEST, #23
NEW YORK, NY 10024
(212) 737-0153

PROFESSIONAL ARTISTS
UNLTD.
321 WEST 44TH ST., #605
NEW YORK, NY 10036
(212) 247-8770

RAINES AND RAINES (S)
103 KENYON ROAD
MEDUSA, NY 12120
(518) 239-8311

RICK HASHAGEN &
ASSOCIATES (L)
1369 MADISON AVENUE
#PMB 431
NEW YORK, NY 10128
(212) 315-3130

**ROBBINS OFFICE (THE)
405 PARK AVENUE
NINTH FLOOR
NEW YORK, NY 10022
(212) 223-0720

ROBERT A. FREEDMAN
DRAMATIC AGENCY,
INC. (S)
1501 BROADWAY, #2310
NEW YORK, NY 10036
(212) 840-5760

**ROBERT L. SEIGEL
67-21F 193RD LANE
FRESH MEADOWS, NY
11365
(718) 454-7044

SEYMOUR AGENCY,
(THE) (L)
475 MINER STREET ROAD
CANTON, NY 13617
(315) 386-1831

**STERLING LORD
LITERISTIC, INC.
65 BLEECKER STREET
NEW YORK, NY 10012
(212) 780-6050

**SUSAN GURMAN
AGENCY
865 WEST END AVE., #15A
NEW YORK, NY 10025
(212) 749-4618

*SUSAN SCHULMAN
LITERARY AGENCY (L)
454 WEST 44TH STREET
NEW YORK, NY 10036

TALENT
REPRESENTATIVES,
INC. (L)
307 EAST 44TH STREET, #1F
NEW YORK, NY 10017
(212) 752-1835

VICTORIA SANDERS
LITERARY AGENCY (L)
241 SIXTH AVE.# 11H
NEW YORK, NY 10014
(212) 633-8811

WILLIAM MORRIS
AGENCY, INC. (NY) (P)
1325 AVE. OF THE
AMERICAS
NEW YORK, NY 10019
(212) 586-5100

C A L I F O R N I A

ABOVE THE LINE
AGENCY
9200 SUNSET BLVD. #804
W. HOLLYWOOD, CA
90069
(310) 859-6115

ACME TALENT &
LITERARY AGENCY
4727 WILSHIRE BLVD.,
STE. 333
LOS ANGELES, CA 90010
(323) 954-2263
AGENCY FOR THE
PERFORMING ARTS (LA)
405 S. BEVERLY DRIVE
BEVERLY HILLS, CA 90212
(310) 888-4200
AIMEE ENTERTAINMENT
ASSOC.
15840 VENTURA BLVD.,
STE. 215
ENCINO, CA 91436
ALPERN GROUP (THE)
15645 ROYAL OAK ROAD
ENCINO, CA 91436
(818) 528-1111
AMSEL, EISENSTADT &
FRAZIER
5055 WILSHIRE BLVD. #865
LOS ANGELES, CA 90036
(323) 939-1188
ANGEL CITY TALENT
4741 LAUREL CANYON
BLVD, #101
VALLEY VILLAGE, CA
91607
(818) 760-9980
ANN WAUGH TALENT
AGENCY
4741 LAUREL CANYON
BLVD., #200
NORTH HOLLYWOOD,
CA 91607
(818) 980-0141
ANNETTE VAN DUREN
AGENCY
4303 IRVINE AVENUE
STUDIO CITY, CA 91604
(818) 752-6000
BARRY PERELMAN
AGENCY
1155 N. LA CIENEGA BLD.
#412
LOS ANGELES, CA 90060
(310) 659-1122
BECSEY, WISDOM,
KALAJIAN
9200 SUNSET BLVD., #820
LOS ANGELES, CA 90069
(310) 550-0535
BETH BOHN
MANAGEMENT, INC.
2658 GRIFFITH PARK
BLVD., STE. 508
LOS ANGELES, CA 90039
(323) 664-2658
BICOASTAL TALENT &
LITERARY AGENCY
210 N. PASS AVE, #204
BURBANK, CA 91505
(818) 845-0150
BOHRMAN AGENCY
(THE)
8899 BEVERLY BLVD.,
#811
LOS ANGELES, CA 90048
(323) 550-5444
BONNIE BLACK TALENT
AGENCY
12034 RIVERSIDE DRIVE
#103

VALLEY VILLAGE, CA
91607
(818) 753-5424

BRANT ROSE AGENCY
6671 SUNSET BLVD.
SUITE 1584 B
LOS ANGELES, CA 90028
(323) 460-6464

CANDACE LAKE AGENCY
(THE) (P)
10677 SOMMA WAY
LOS ANGELES, CA 90077
(310) 476-2882

CARY KOZLOV LITERARY
REPRESENTATION
16000 VENTURA BLVD.
#1000
ENCINO, CA 91436
(818) 501-6622

CATALYST AGENCY, INC.
(L)
(818) 597-8335

CEO CREATIVE
ENTERTAINMENT OFFICE
(L)
1801 S. CATALINA AVE.,
#103
REDONDO BEACH, CA
90277
(310) 791-4494

CERISE TALENT AGENCY
11715 HORTENSE STREET
NORTH HOLLYWOOD,
CA 91607
(818) 766-8226

CHASIN AGENCY, INC.
(THE)
8899 BEVERLY BLVD., #716
LOS ANGELES, CA 90048
(310) 278-7505

CONTEMPORARY
ARTISTS, LTD.
610 SANTA MONICA
BLVD., #202
SANTA MONICA, CA
90401
(310) 395-1800

CORALIE JR. THEATRICAL
AGENCY
907 S VICTORY BLVD.
BURBANK, CA 91502
(818) 842-5513

CREATIVE ARTISTS
AGENCY, LLC
2000 AVE. OF THE STARS
LOS ANGELES, CA 90067
(424) 288-2000

CRITERION GROUP, INC.
4842 SYLMAR AVENUE
SHERMAN OAKS, CA
91423
(818) 995-1485

DALE GARRICK
INTERNATIONAL
1017 N LA CIENEGA
BLVD, #109
WEST HOLLYWOOD, CA
90069
(310) 657-2661

DAVID SHAPIRA &
ASSOC., INC.
193 N ROBERTSON BLVD.
BEVERLY HILLS, CA 90211
(310) 967-0480

DIVERSE TALENT GROUP,
INC.
1925 CENTURY PARK
EAST, STE. 880
LOS ANGELES, CA 90067
(310) 201-6565

DON BUCHWALD &
ASSOC.
6500 WILSHIRE BLVD.
STE. 2200
LOS ANGELES, CA 90048
(323) 655-7400

ENDEAVOR AGENCY
(THE)
9601 WILSHIRE BLVD.,
3RD FLOOR

BEVERLY HILLS, CA 90210
(310) 248-2000
ES AGENCY (THE)
6612 PACHECO WAY
CITRUS HEIGHTS, CA
95610
(916) 723-2794

FRANK ELLIOTT SHAPIRO
TALENT AGENCY
(818) 376-1583

FRED R. PRICE LITERARY
AGENCY
14044 VENTURA BLVD.,
#201
SHERMAN OAKS, CA
91423
(818) 763-6365

GAGE GROUP INC.
(THE) (L)
14724 VENTURA BLVD.,
#505
SHERMAN OAKS, CA
91403
(818) 905-3800

GERALD K. SMITH &
ASSOCIATES
(323) 849-5388

GERSH AGENCY, INC.,
THE (LA)
232 N. CANON DRIVE,
#201
BEVERLY HILLS, CA 90210
(310) 274-6611

GLICK AGENCY, LLC
1250 6TH STREET, #100
SANTA MONICA, CA
90401
(310) 593-6500

GRANT, SAVIC,
KOPALOFF & ASSOCS.
6399 WILSHIRE BLVD.,
#414
LOS ANGELES, CA 90048
(323) 782-1854

HOHMAN, MAYBANK,
LIEB
9229 SUNSET BLVD., #700
LOS ANGELES, CA 90069
(310) 274-4600

HOLLYWOOD VIEW
5255 VERONICA STREET
LOS ANGELES, CA 90008
(310) 480-5118

IFA TALENT AGENCY
8730 SUNSET BLVD., #490
LOS ANGELES, CA 90069
(310) 659-5522

INNOVATIVE ARTISTS
1505 TENTH STREET
SANTA MONICA, CA
90401
(310) 656-0400

INTERNATIONAL
CREATIVE MGMT. (LA)
8942 WILSHIRE BLVD.
BEVERLY HILLS, CA 90211
(310) 550-4000

IRV SCHECHTER
COMPANY (THE)
9460 WILSHIRE BLVD. #300
BEVERLY HILLS, CA 90212
(310) 278-8070

J.K.A. TALENT &
LITERARY AGENCY
1926 N. CRESCENT
HEIGHTS BLVD.
LOS ANGELES, CA 90069
(323) 650-2093

JACK LENNY ASSOCIATES
9454 WILSHIRE BLVD.,
#600
BEVERLY HILLS, CA 90210
(310) 285-0303
JACK SCAGNETTI
5118 VINELAND AVENUE,
SUITE. 106
NORTH HOLLYWOOD,
CA 91601
(818) 762-3871
JANA LUKER TALENT
AGENCY
1923 1/2 WESTWOOD
BLVD., #3
LOS ANGELES, CA 90025
(310) 441-2822
KAPLAN-STAHLERGUMER
AGENCY (THE)
8383 WILSHIRE BLVD.,
#923
BEVERLY HILLS, CA 90211
(323) 653-4483
LARCHMONT LITERARY
AGENCY
444 NORTH LARCHMONT
BLVD., #200
LOS ANGELES, CA 90004
(323) 856-3070
LARRY GROSSMAN &
ASSOCIATES
2129 RIDGE DRIVE
LOS ANGELES, CA 90049
(310) 550-8127
LAYA GELFF AGENCY
16133 VENTURA BLVD.,
#700
ENCINO, CA 91436
(818) 996-3100
LENHOFF & LENHOFF
830 PALM AVENUE
WEST HOLLYWOOD, CA
90069
(310) 855-2411
LISA CALLAMARO
LITERARY AGENCY
427 N. CANON DRIVE #202
BEVERLY HILLS, CA 90210
(310) 274-6783
LYONS/SHELDON/
PROSNIT AGENCY
800 S. ROBERTSON BLVD.,
#6
LOS ANGELES, CA 90035
(310) 652-8778
MAGGIE ROIPHE
AGENCY
1721 S. GARTH AVE.
LOS ANGELES, CA 90035
(310) 876-1561
MARIAN BERZON
TALENT AGENCY
336 E. 17TH STREET
COSTA MESA, CA 92627
(949) 631-5936
MEDIA ARTISTS GROUP
6300 WILSHIRE BLVD.
#1470
BEVERLY HILLS, CA 90048
(323) 658-7434
METROPOLITAN TALENT
AGENCY
204 N. ROSSMORE AVE.
LOS ANGELES, CA 90004
(323) 857-4500
MICHAEL D. ROBINS &
ASSOCIATES
23241 VENTURA BLVD.,
#300
WOODLAND HILLS, CA
91364
(818) 343-1755

MICHAEL LEWIS &
ASSOCIATES
2506 FIFTH STREET, #100
SANTA MONICA, CA
90405
(310) 399-1999

MITCHELL J. HAMILBURG
AGENCY
149 S. BARRINGTON AVE
#732
LOS ANGELES, CA 90049
(310) 471-4024

MITCHELL K. STUBBS &
ASSOCIATES
8695 W. WASHINGTON
BLVD. #204
CULVER CITY, CA 90232
(310) 838-1200

MLH LITERARY AND
TALENT AGENCY
4650 GREENBUSH AVE.
SHERMAN OAKS, CA
91423
(818) 745-1290

MONTEIRO ROSE DRAVIS
AGENCY, INC.
17514 VENTURA BLVD.
#205
ENCINO, CA 91316
(818) 501-1177

NATURAL TALENT, INC.
3331 OCEAN PARK BLVD.,
#203
SANTA MONICA, CA
90405
(310) 450-4945

ORIGINAL ARTISTS
9465 WILSHIRE BLVD. #840
BEVERLY HILLS, CA 90212
(310) 277-1251

PARADIGM
360 N. CRESCENT DR.
N. BLDG.
BEVERLY HILLS, CA 90210
(310) 288-8000

PAUL KOHNER, INC.
9300 WILSHIRE BLVD. #555
BEVERLY HILLS, CA 90212
(310) 550-1060

PREFERRED ARTISTS
16633 VENTURA BLVD.
#1421
ENCINO, CA 91436
(818) 990-0305

PROGRESSIVE ARTISTS
AGENCY
400 S. BEVERLY DR., #216
BEVERLY HILLS, CA 90212
(310) 553-8561

*QUALITA DELL’ ARTE
6303 OWENSMOUTH AVE,
10TH FLOOR
WOODLAND HILLS, CA
91367
(818) 936-3566

READ
8033 SUNSET BLVD., #937
LOS ANGELES, CA 90046

REBEL ENTERTAINMENT
PARTNERS, INC.
5700 WILSHIRE BLVD.,
SUITE #456
LOS ANGELES, CA 90036
(323) 935-1700

ROTHMAN BRECHER
AGENCY, THE
9250 WILSHIRE BLVD, PH
BEVERLY HILLS, CA 90212
(310) 247-9898

SARNOFF COMPANY,
INC. (THE)
10 UNIVERSAL CITY
PLAZA, STE. 2000
UNIVERSAL CITY, CA
91608
(818) 753-2377

SCHIOWITZ CONNOR
ANKRUM WOLF, INC.
1680 VINE STREET, #1016
LOS ANGELES, CA 90028
(323) 463-8355

SHAPIRO-LICHTMAN,
INC.
1333 BEVERLY GREEN
LOS ANGLES, CA 90035
(310) 859-8877

SHIRLEY WILSON &
ASSOCIATES
5410 WILSHIRE BLVD.
SUITE 227
LOS ANGELES, CA 90036
(323) 857-6977

STARS, THE AGENCY
23 GRANT AVENUE,
4TH FLOOR
SAN FRANCISCO, CA
94108
(415) 421-6272

STARWILL
PRODUCTIONS
433 N. CAMDEN DRIVE
FOURTH FLOOR
BEVERLY HILLS, CA 90210
(818) 761-3213

STEIN AGENCY (THE)
5125 OAKDALE AVE.
WOODLAND HILLS, CA
91364
(818) 594-8990

STONE MANNERS
AGENCY
6500 WILSHIRE BLVD.,
#550
LOS ANGELES, CA 90048
(323) 655-1313

STUART M. MILLER CO.
(THE)
11684 VENTURA BLVD.
#225
STUDIO CITY, CA 91604
(818) 506-6067

SUITE A MGMT. TALENT
& LITERARY AGENCY
120 EL CAMINO DRIVE
SUITE 202
BEVERLY HILLS, CA 90212
(310) 278-0801

SUMMIT TALENT &
LITERARY AGENCY
120 EL CAMINO DR #202
BEVERLY HILLS, CA 90212
(310) 205-9730

SUSAN SMITH COMPANY
(THE)
1344 N. WETHERLY DR.
LOS ANGELES, CA 90069
(310) 276-4224

TALENT WORKS, INC.
3500 W. OLIVE AVE., #1400
BURBANK, CA 91505
(818) 972-4300

UNITED TALENT
AGENCY, INC.
9560 WILSHIRE BLVD.
5TH FLOOR
BEVERLY HILLS, CA 90212
(310) 273-6700

VISION ART
MANAGEMENT
9200 SUNSET BLVD.
PENTHOUSE 1
LOS ANGELES, CA 90069
(310) 888-3288

WARDEN, WHITE &
ASSOCIATES
8444 WILSHIRE BLVD.
4TH FLOOR
BEVERLY HILLS, CA 90211
(323) 852-1028

WILLIAM MORRIS
AGENCY, LLC
151 EL CAMINO DRIVE
BEVERLY HILLS, CA 90212
(310) 274-7451

C O N N E C T I C U T

**DON GASTWIRTH &
ASSOCIATES
265 COLLEGE STREET,
#10N
NEW HAVEN, CT 06510
(203) 562-7600

*TALL TREES
DEVELOPMENT GROUP
301 OLD WESTPORT RD
WILTON, CT 06897

D I S T R I C T O F
C O L U M B I A

**LEONA P. SCHECTER
LITERARY AGENCY
3748 HUNTINGTON ST.,
NW
WASHINGTON, DC 20015
(202) 362-9040

**THERESA A.
GABALDON
LITERARY AGENT (L)
2020 PENNSYLVANIA
AVE., NW, SUITE 222
WASHINGTON, DC 20006

F L O R I D A

**BURTON & ROBINSON
AGENCY
10051 MCGREGOR BLVD.
SUITE 108
FORT MYERS, FL 33919
(239) 645-6870

**COCONUT GROVE
TALENT AGENCY (L)
3525 VISTA COURT
COCONUT GROVE, FL
33133
(305) 858-3002

GLENDA STAFFORD &
ASSOCIATES
14953 NEWPORT ROAD,
SUITE 100
CLEARWATER, FL 33764
(813) 535-1374

HURT AGENCY, INC. (L)
400 NEW YORK AVE. N,
#207
WINTER PARK, FL 32789
(407) 740-5700

LEGACIES
501 WOODSTORK CIR.
PERICO BAY
BRADENTON, FL 34209
(941) 792-9159

**MARSHALL CAMERON
AGENCY (L)
19667 NE 20TH LANE
LAWTEY, FL 32058
(904) 964-7013

**SALPETER AGENCY,
THE
7461 W. COUNTRY CLUB
DRIVE N., #406
SARASOTA, FL 34243
(941) 358-0606

STARFLIGHT AGENCY (L)
6643 BALI HAI DRIVE
BOYNTON BEACH, FL
33437
(954) 547-0941

STELLAR MODEL &
TALENT AGENCY (L)
3001 W. HALLANDALE
BEACH BLVD., #303
PEMBROKE PARK, FL
33009
(954) 241-7376

**TEL-SCREEN ARTISTS
INTERNATIONAL, INC.
2659 CARAMBOLA CIRCLE
NORTH, BUILDING A,
SUITE 404
COCONUT CREEK, FL
33066
(954) 974-2251

G E O R G I A

CALIFORNIA ARTISTS
AGENCY (L)
3053 CENTERVILLE
ROSEBUD ROAD
SNELLVILLE, GA 30039
(770) 982-1477

K.T. ENTERPRISES
2605 BEN HILL ROAD
EAST POINT, GA 30344
(404) 346-3191

MCBRAYER LITERARY
AGENCY (L)
2483 WAWONA DRIVE
ATLANTA, GA 30319
(404) 634-1045

TALENT SOURCE
1711 DEAN FOREST ROAD,
STE. H
SAVANNAH, GA 31408
(912) 963- 0941

WRITERSTORE (L)
2004 ROCKLEDGE RD. NE
ATLANTA, GA 30324
(404) 874-6260

I L L I N O I S

**AGENCY CHICAGO (L)
28 E. JACKSON BLVD., 10TH
FLOOR
CHICAGO, IL 60604
(312) 409-0205

KELVIN C. BULGER &
ASSOCIATES
4540 W. WASHINGTON
BLVD.
CHICAGO, IL 60624
(312) 218-1943

LILY’S TALENT AGENCY
(L)
1017 W. WASHINGTON,
STE. 4F
CHICAGO, IL 60607
(312) 601-2345

MARCUS BRYAN &
ASSOCIATES, INC.
1500 SKOKIE BLVD
SUITE 310
NORTHBROOK, IL 60062
(847) 412-9394

STEWART TALENT
MANAGEMENT CORP. (L)
58 WEST HURON
CHICAGO, IL 60610
(312) 943-3131

**WHISKEY HILL
ENTERTAINMENT
1000 WILLIAMS STREET
PO BOX 606
WESTMOUNT, IL 60559
(630) 852-5023

I N D I A N A

INTERNATIONAL
LEONARDS CORP. (L)
3612 N. WASHINGTON
BLVD.
INDIANAPOLIS, IN 46205

**JOINT VENTURE
AGENCY
2927 WESTBROOK DR.,
#110B
FORT WAYNE, IN 46805
(219) 484-1832

MASSACHUSETTS

CREATIVE CAREER
MANAGEMENT (L)
84 SPRUCE RUN DR.
BREWSTER, MA 02631
(508) 896-9351

M I C H I G A N

WHITE ORCHID
LITERARY & TALENT
3580 RESERVE COURT
HIGHLAND, MI 48356
(248) 939-1408

N E W J E R S EY

DIVERSE ARTISTIC
INITIATIVES, INC. (L)
10 MAIN STREET, STE. 4A
PMB #262
WOODBRIDGE, NJ 07095
(866) 580-5660

**ELLEN BROWN
AGENCY
211 CLUBHOUSE DRIVE
MIDDLETOWN, NJ 07748

O H I O

*LE MODELN, INC.
7536 MARKET STREET,
STE. 104
BOARDMAN, OH 44512
(330) 758 4417

**TANNERY HILL TALENT
AGENCY (L)
6447 HIRAM AVENUE
ASHTABULA, OH 44004
(216) 997-1440

P E N N S Y L V A N I A

**GOOD WRITERS
AGENCY, THE (L)
113 HENRY HUDSON DR.
DELMONT, PA 15626

**SISTER MANIA
PRODUCTIONS, INC. (L)
916 PENN STREET
BRACKENRIDGE, PA
15014

R H O D E I S L A N D

HANAR COMPANY (L)
34 FAIRBANKS AVENUE
PASCOAG, RI 02859

SUZANNE J. REYNOLDS
AGENCY (L)
167 CHURCH STREET
TIVERTON, RI 02878
(401) 624-9541

T E N N E S S E E

CFA PRODUCTIONS, INC.
119 S. MAIN STREET, # 565
MEMPHIS, TN 38103

*CLIENT FIRST AGENCY
(L)
2134 FAIRFAX AVE., SUITE
#A-3
NASHVILLE, TN 37212

*MIRAGE ENTERPRISES
5100 STAGE ROAD, #4
MEMPHIS, TN 38134

V I R G I N I A

DEITER LITERARY
AGENCY (THE) (L)
6207 FUSHSIMI COURT
BURKE, VA 22015
(703) 440-8920

FILMWRITERS LITERARY
AGENCY
4932 LONG SHADOW DR
MIDLOTHIAN, VA 23112
(804) 744-1718

W A S H I N G T O N
CANO AGENCY (THE) (L)
8257 LATONA AVE., N.E.
SEATTLE, WA 98115

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.

Secrets for success

Select only those who are ready and eager to make a demo. Select a wide range of the talents needed to create teams – from writers to production crews to editors. Introduce each person personally and grill them in front of the group to “Get Specific! What exactly do you want on your demo?”

Over soft drinks and the buzz of networking, people look for who they need to accomplish their goal. An actor. A photographer. A director. This is not your typical networking meeting. Each person brings handouts – headshots, scenes, lists of equipment – whatever documents their contribution to a project.

Expect unique stories to arise from these introductions — wide ranging –talents and experiences arise from former FBI agents to kindergarten teachers to feature film first assistant directors to ice skaters.

The flow of ideas for projects are just as diverse — from a period piece to children’s drama to action genres, to special effects.

Actors are able to ask for exactly the role that would show off their best features and skills and desires. That in itself is an unusual situation for accomplished professionals not quite in the driver’s seat – yet. Some are professionals in the driver’s seat, but just want an ideal piece for their reel that will better display the range of their talents.

Early Results Document Progress…and Motivate!

Show the raw footage from the first project at the second meeting. DVD technology makes that possible.

“The most important part of the project is that all members of the project get immediate access to raw footage. Each member can use it for their own needs. Convert raw film footage to digital video tape that can be edited many different ways to accentuate each individual’s career needs.

Creative Take Charge Action

One reel creative just shot random scenes of sex, violence, laughter – anything that made it seem intense, and they threw it together. It was so simple, so smart to take charge and do something.

Why not take energy that comes from hopes and dreams — and determination — and make something specific happen?”

No project, no matter how great, can meet the needs of every participant. Each person has unique needs for his or her reel. The challenge is to get everyone involved and meet their self-centered needs. By planning and working together, a number of needs can be met on one project.

No shoot is simple. When you start the work of shooting, you have to get permits — and– dealing with bureaucracy isn’t always simple. Here’s where working collaboratively with a nonprofit group or a student film crew can be beneficial!

Shoot guerrilla style! Get creative — bring a big boom box and ask for donations from the crowd that gathers! What better way to get people to ignore you than ask them for money. And the more visible we were, the more people wanted to ignore us.

Don’t let anybody tell you can’’t do anything! I just go for it and do it.

Growing the Group

Start recruiting on Craig’s List and Mandy.com, as well as word of mouth in your network of coworkers and friends. Follow up with specific ads for producers, set designers, crews with equipment, foley and ADR artists. “ <> Offer to help an actor make a reel for free and actors will jump on it —– but not as many crew members. Each person in the group has their own network that can participate in these projects as well.

“Attract directors and directors of photography who are at the top of their game to ensure high production value. And build a community — spread the idea of how people can collaborate with one another on productive projects.

These ultra short clips are not for distribution –– that reduces the need for many release forms and permissions. Have all participates sign an agreement that they are not to be distributed because of unions and so forth.

Local arts groups could support this kind of collaborative self-help project by providing seed money for rentals of professional equipment.

Equipment rental companies could sponsor the project to get their “between job” clients together with budding professionals.

A grant to help build a strong creative base would be great. Expenses such as equipment rental, permits and a certificate of insurance add up.”

Scope of Creative Work

It’s possible to put a very small but powerful film together and this small project is great practice for getting across what you want in a short time. All the participants learn a lot about how to get their point across in a short amount of time on an even shorter budget. And that’s an important skill to develop in today’s changing movie and filmmaking industry.

Professional production values make the project look great and it is a great way to market creative talent.”

Casting

Even casting issues involved in selecting a scene and working with fellow professionals on the team take actors light years beyond casual career management.

“The project focus forces actors to figure out exactly what they want to do with their career. What each actor wants his/her reel to be. What they are capable of and what they want to do. How to present themselves to the entertainment world.

Casting directors run into a lot of people who don’’t know what they want to do. Here they work very hard on focus vs. coming to a random audition with a white wall and paper in hand.”

Just for actors…NOT!

For actors, these 1-minute reel scenes force them to pinpoint exactly what pathway they want to take. “

They can put a stop to waiting and waiting and waiting for someone else to declare that they’’re good enough. “

Actors as Marketers, Managers and Agents for Themselves

Today’s technology is more accessible and less expensive — actors must make a shift beyond presenting their acting skills for someone and hoping they fit into someone else’s dream. Now they can put their own dreams and ideal roles into their own product. Nothing can hold actors back anymore!”

Directors Benefit from Versatility Opportunity

Directors get great practice with the ultra-short format –– especially those who want to branch out of their current genre.

One director might want to break out of comedy into horror. In one minute a director can showcase his/her ability to immediately bring the viewer into suspense and show how they can direct every one of their actors.

Directors can sink their teeth into a real project, but without investing all their money into a longer short. Directors can refine their style and branch out with other genres without taking up too much of their time or money. There’’s a lot to be learned about creative control in a short timeframe.