I’ve been raising money to make a movie for the last 18+ months now, and I’ve tried to be methodical and process-driven in my approach, hoping to one day be able to write a post JUST LIKE THIS ONE. Continue reading The First Principle of Raising Money
I joined Slated in 2014 after attending a producer breakout session at the American Film Market in early November. The speaker was the co-founder and CEO of slated.com, Steph Paternot.
He was compelling, confident, and it felt like I was hearing the answer to my prayers! They had created a site who’s sole intention was to connect independent producers and filmmakers with financing and distribution.
As we’ve used the site over the last year and a half, I wanted to write about our experience, why our expectations haven’t yet been met, and what I think both the users of the site and those running it could do to make it more valuable. Continue reading A Few Thoughts On Slated.com
The voices in my head go something like this:
“What if you’ve spent the last year, full time, writing a script, raising money, attaching actors, and producing a teaser, only to end up making a movie that sucks, and everyone around you saw it but you…”
That is seriously my greatest fear. Lucky for me (and for you), there’s a way to avoid this sort of outcome. Continue reading Why We Paid $1250 To Validate Our Film
For the last year I’ve been working nearly full time on the screenplay for HIDDEN WORLD. This post will outline some of the big things I’ve learned over that time, and by the end hopefully convince you that the process of writing and revising a screenplay is an essential part of the roadmap to making a feature film. Continue reading THE PROCESS OF WRITING A SCREENPLAY
When we set out to make a movie, we didn’t want just a movie. We wanted a great movie. Great movies start as great scripts, which start as great premises. I’ve talked about this before, the process of validating ideas and moving forward only when you’ve accomplished the thing you’ve set out to do. Continue reading FEEDBACK
I had the opportunity to attend Sundance over the last two weekends. For the first time since living in Utah (15 years now…) I sprung for the Utah Locals pass which comes with 10 tickets to the films being shown at the festival. That was split between me & my business partner, but since he only wanted to see one movie, I got to see 7…oof.
Three movies in one day is a lot. Just sayin’. Continue reading THAT MOVIE HAD HEART…
In around February of this year, my business partner and I at Telekinesis Entertainment set out to do the impossible: raise money to make movies.
Every day for the last 10 months, we failed. It’s a harsh reality. Raising money to make movies is a zero sum game; you either have raised money or you haven’t.
Until this week, that is. We’ve officially succeeded at raising money to make a movie. Here’s a few things I’ve learned along the way in hopes of helping anyone starting out on a similar journey. Continue reading 3 LESSONS FROM 10 MONTHS OF FUNDRAISING
A few weeks ago I attended the American Film Market for the second year in a row.
It’s an annual film market where Sales Agents are selling the films they represent to foreign distributors and buyers.
Producers, like myself, will often attend to try and meet with these Sales Agents and find one to represent their films, but it’s also a great place to learn as they have great conferences and workshops centered around every aspect of the filmmaking process.
Here are my notes from the week. Hoping something is useful as you go out to make your own films in the future. To see last years notes, check out this post. Continue reading NOTES & TAKEAWAYS FROM AFM 2015
Last night I met another local filmmaker who excitedly told me about how his $150,000 movie made $2,000,000 in foreign sales and DVD. Now, that’s super impressive, and I’m happy for him-
But I’m also massively pissed.
When you make a movie for $150k, you generally — not always — have to make some sacrifices. These sacrifices are typically at the expense of everyone else that worked on the film, other than you and your producing partners.
Some examples — Continue reading I DON’T CARE HOW MUCH YOUR MOVIE MADE