A Longwinded way of asking for advice

MikeBarcode

MikeBarcode

I've worked on piddly little things, public access television, student films. But now, I'm looking at something bigger. I have a script. I got good feedback from those reading it, but despite the wonderful feedback, it's about 75% amatuers reading my work, as I really can't afford a script editor. I've done something I didn't really want too, give to a bunch of people to see what they would think, but it's been good feedback. A couple people I thought it was "ok." (ugh!), some people I thought would laugh in my face, didn't. So that's good. So, with the belief in myself that I have a good enough script to warrant being made, I'm moving forward.

I have a collaborator who's helping me plan, and I most likely have a DP. So I'm scratching those two off the list. What is comes down to now, is planning for the months ahead. I'm biting the bullet - I've always been too worried about failing to say "f it" and move forward. Not anymore. Unfortunetly, because I've never done this...I hardly know where to start. I'm looking through this post for advice as to where to start planning, how to properly budget...I have ideas, but I'm not sure what to look at first.

Thanks,
MIKE
 
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An Arena...wow. I would definately look to a school for this. My Kid's school out here in CA has a very impressive set of bleachers for their footbal field. The right camera angles could make it look like an arena, and the shool routinely rents it out for various events.

That's the road I'd go down.

Also, A reall good book to get is by Greg Goodell, called independent feature film production. Besides budgets and various other real important info, it contains sample contracts you can use.

http://www.amazon.com/gp/product/0312181175/102-9013765-7005714?v=glance&n=283155

No afiliation...
 
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I can't advise you on insurance because you're not in the UK.
But here is a list of paperwork that you'll need that I've pasted from the Customflix free guide to distribution; it's about the deliverables you need to have at the end of your feature:

Other Deliverables for Self and Traditional Distribution

Deliverables are what a filmmaker needs to give the distributor or buyer to make the sales contract effective. This is your end of the deal. It's more of a burden for those entering into studio-backed arrangements, where the legalities of the business are very specific, but even a supposedly-simple, self-distributed, home video deal can find you searching old files and spending some money. In order from cheap-and-easy to costly-and-time-consuming, be prepared to ante up any or all of the following:
Copy of the shooting and/or production script. Some distributors may want the shooting script; some will want the production script.
Dialogue sheets. Necessary for foreign sales, a word-for-word transcription of all the spoken language (dialogue and voice-over) as it appears in the final version of your film.
Music cue sheet. A listing of each music cue used throughout the project, with accompanying song titles, duration of the cue in minutes (in tenths of seconds), artists performing the music, and publishers (BMI, ASCAP). Music cue sheets are necessary for television sales, as broadcasters and cablecasters maintain licensing deals with the music publishing companies to pay royalty use rights.
Trailer. Hopefully you've created one for promotional purposes before this point.
Production stills. Discussed previously.
Poster, one-sheet, postcards and other marketing materials should be considered. This is very dependent on the kind of deal you are entering or the type of self promotion you are planing. Those signing with studios and large independent distributors won't need these items. Small, direct-to-video and English-speaking foreign buyers may stipulate such materials as necessary to the agreement. Self-distributors should be well-prepared with these items if they are essential to their marketing and promotional plan.
M&E tracks. Music and effects tracks involve separating every single sound effect and music cue on an audio track separate from the dialogue in a production. This is used in foreign sales, when your dialogue will be dubbed into another language.
Copyright. Most independent films are uniquely created, thus the sole property of their creators. If that's the case, be sure you properly register your film with the U.S. Copyright office.
Clearances/releases/insurance. You'll need releases, errors and omissions insurance, contracts for use, and clearances from everyone and everything that appears in your film. From the strip mall parking lot that served as a set to your Uncle Louie who played a character to the local band that provided background music, get signed agreements stating your intentions to promote and sell (and profit from) the movie. "This is essential," says Emma. "A film cannot ultimately be distributed without proper clearances." Though errors and omissions insurance is not an immediate concern, filmmakers should budget for the expense at the outset of the production. Have an attorney (preferably one associated with entertainment law) check out everything to be sure it's kosher.
Click to expand...

I know this seems like an additional burden, but it's better to know this before you film rather than after when it all becomes harder work and can potentially prevent sales.

I really recomend reading all of this guide, you can sign up for it here

customflix distribution
 
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Oops. Sorry Johnny. Due to migraine induced idiocy, I did say that. I have no idea why. I am producing a feature this summer (not minidv!!!)

Mike, I will get back you with that script coverage- do I have a deadline?
 
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btw- Mike, there are many great composers who are looking to get their start just like us. They are willing to work for free or really cheap! I just secured a great pop ballad for the end of "Rubble" from a UK artist, just by asking!
 
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Lilith said:
Mike, I will get back you with that script coverage- do I have a deadline?
Click to expand...

Nothing too pressing, I'm trying to start heavy planning and plotting in about two weeks, right now I'm just getting feedback on the script, and seeing how many people are interested in being involved. Luckily so far, feedback has been positive. I need to work on my professional formatting/style a bit I think (expected, since it's my first feature script) but everyone's said it is funny. Which is important when, y'know, try and write a comedy.

So I got that going. :)

Oh and on a side note, you were wondering about my website. It was either "scrounge funds now and try to keep it going," or "wait two weeks, let it go down, then just pay for a full year when I have real money again." I opted for the latter.
 
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It’s much easier to get people to commit when you have an actual start date. This is YOUR project - you’re sticking with it as long as it takes. Very few people are willing to commit to working on your a movie that you HOPE will start shooting soon.

Since you are still working on the script it might be several months (if not years) before you actually need to hire a DP. You'll will get many more people interested when you can say, “I start shooting in six weeks. The insurance is paid for, the locations secure and I have my first audition tomorrow. Will you be available?”

Insurance? Check:
http://www.productioninsurance.com/
http://www.filmemporium.com/newweb/insurance/index.htm


Just a little side note: Sometimes it’s best to do your big movie second - after you’ve finished a small one. A movie that needs an arena is a huge burden for a first feature. Have you considered doing something smaller as your first project? Something with five to seven actors and only five or six locations?
 
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While I've never done anything technically as a" film", I've been doing a public access show for a couple years, producing short skits of varying length (3-20 minutes), and of varying quality (from Super 8 to high-quality Mini DV shorts), and I just feel like doing something big now after all that. From doing the show I have a crew of people that are interested in working on this project.

I agree, and am very nervous that I am setting my sights too high for my first venture into the "let's try and make something REAL" area. If I could get your e-mail I'd love to send you a copy (if you are willing of course) just to see what you think of things. That arena scene is pretty big scale, but what's nice is that the rest of it isn't. I think if I can just swing a few things in the right direction, I could make it happen.

*crosses fingers.*

and thanks for the insurance links!
 
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