The person who wrote the IMDB posting yesterday seems pretty upset at my response. Like I said before, I don't want to get into a debate. Both of us have our opinions. I believe "after further review," you should come up with your own. There are exceptions to every rule. Research and gut feelings are important.
I was accused of not posting his response. In my defense the Blogging Company hasn't notified me as of this morning. I saw his response posted on IMDB and have copied all but some self serving advertisements.
COPY
"I posted a response on Bob Cook's blog and just in case he doesn't post it, I will post it here for everyone to read and it is as follows: I'm the one that is being referenced in this blog, I posted the post on IMDB entitled Stop Working for Free. And I stand by that, all of you that say you want the credit on the resume well that in my opinion is just foolish. I don't care who you are, if you provide sweat equity then you need to be paid for your work period, and I do have to agree with Bob Cook on one point, Scam artist are Scam artist, I don't think that the word artist should be in the confines of the same sentence as scam or con, as ripping people off shouldn't be considered an art form. Bob made mention of SAG's contract well I for one do not care about SAG's contract allowing actors to work for free on a project under 40 minutes and under $50,000.00, point being I will never ask anyone to work for free period. My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period."
My philosophy is if I can't raise the funds to pay everyone I need on my production, I had rather shelf the project until I can raise the funds to pay everyone period, everyone has to keep a roof over their head and everyone has to eat, and provide for themselves and family period. On my productions I will even pay the non-union extras $100.00 per day for a base of 8. When I say that there is no such thing as a no budget film that means somebody is getting paid, producer, director etc somebody is getting paid trust me, I guarantee it. The only one's not getting paid are those cast and crew members that agree to work for free, and that is something that no one should ever agree to period, if you want to provide your services for a cut rate that is fine but get paid something I'll say it again stop working for free.
MY RETORT
Again, I'm not disagreeing, I'm just stating if you do have an offer to work for free or feel the need --- make sure you think about it and/or research it first. If you can get a good paying gig without experience --- by all means, go for it. There's about ten years between MR. IMDB and myself and times are a changin' every year. We're both obviously passionate about the industry and both have our own practices and opinions. We're both published authors and producers. Experts? Probably not. But experienced players and teachers, agreed, we're both saying the same thing just a generation apart.
......and cut!
Showing posts with label IMDB. Show all posts
Showing posts with label IMDB. Show all posts
Monday, April 19, 2010
Sunday, April 18, 2010
IMDB Postings!
They've just raised the pricing on my IMDB-pro. An increase of twenty-five percent (25%) and they sent a notice that it's going to start being paid out of the credit card I have on file at Amazon. That's not the reason for this blog, I actually endorse IMDB-pro if you are in the business and need to reference actors and agents. It's also a good place to post pictures of your accomplishments and/or resume. One of the new perks is they allow up to one hundred pictures posted on your IMDB site. I've got to admit, I took advantage and it makes my site more impressive.
I also like to read the postings on the message boards. There's a job site posting where scam artists and wannabees hang out and bitch about the lack of work and beg for money to make a project. There was a posting today entitled "Stop working for free." He goes on to mention all the horror stories you can find when working for a copy, a meal, and a credit. I've been doing low budget a long time (26 years) and there are horror stories no matter what you're paid. On rare occasion the fee matches the headache. When I first started out in film I told a producer I would work for free. It was the only way to start to build up a resume. To his credit he did offer a nominal salary and to mine I saved him up to five times my salary during my term of employment. I eventually moved up and started receiving more per project and even a piece on the back end. Most people on IMDB frown on back end deals. I say, it all depends on the person you are making the deal with. If you can learn something or believe this person is trustworthy or you are passionate about the project do what you need to do. Scam artist are scam artists.
I've had a few people tell me they will work for free on my projects. They never have any credits or experience. I allow them a place where they believe they will gain experience. They work with someone who has experience and are not the front line person. If they are good they are offered a position or they can at least attach a distributed film to their resume. I believe this is a good practice. I've even had people that started out with my production team and when I went back to them a few years later their day rate had gone way up. Yes, you get what you pay for! But sometimes you can find a diamond in the rough. Talk to the producer or director and see if he's someone you want to work with. Find out the budget, is there money for you to at least make expenses.
If it wasn't okay to work for free, the Screen Actors Guild wouldn't have come up with the SAG contract allowing their actors to work in shorts under forty minutes with no pay if the production budget is under $50K. The actors make their own choice. If they like the role, they take it. They don't, they pass. It's the same for crew. No professional likes to work for free. It doesn't pay the bills. In most cases we've already been there and done that. Checks bounce too and most of us have had that happen in low budget films as well. Hell, I've had a producer of a major film bounce a check on me. When I think about it, I didn't really trust him and it was my fault because I wanted the credit for my resume.
The person on the IMDB posting made some comparisons to electricians, plumbers and other laborers working for a credit which was just stupid. It was like comparing a doctor handing you a bill for his fee after he saves your life when you have a heart attack in the stands at a baseball game or at a traffic accident. You either want to do it or you don't. It's your choice. Just make sure you're not exploited. Be smart, research the director, producer, production company and use an additional resource other than IMDB.
.....and cut!
I also like to read the postings on the message boards. There's a job site posting where scam artists and wannabees hang out and bitch about the lack of work and beg for money to make a project. There was a posting today entitled "Stop working for free." He goes on to mention all the horror stories you can find when working for a copy, a meal, and a credit. I've been doing low budget a long time (26 years) and there are horror stories no matter what you're paid. On rare occasion the fee matches the headache. When I first started out in film I told a producer I would work for free. It was the only way to start to build up a resume. To his credit he did offer a nominal salary and to mine I saved him up to five times my salary during my term of employment. I eventually moved up and started receiving more per project and even a piece on the back end. Most people on IMDB frown on back end deals. I say, it all depends on the person you are making the deal with. If you can learn something or believe this person is trustworthy or you are passionate about the project do what you need to do. Scam artist are scam artists.
I've had a few people tell me they will work for free on my projects. They never have any credits or experience. I allow them a place where they believe they will gain experience. They work with someone who has experience and are not the front line person. If they are good they are offered a position or they can at least attach a distributed film to their resume. I believe this is a good practice. I've even had people that started out with my production team and when I went back to them a few years later their day rate had gone way up. Yes, you get what you pay for! But sometimes you can find a diamond in the rough. Talk to the producer or director and see if he's someone you want to work with. Find out the budget, is there money for you to at least make expenses.
If it wasn't okay to work for free, the Screen Actors Guild wouldn't have come up with the SAG contract allowing their actors to work in shorts under forty minutes with no pay if the production budget is under $50K. The actors make their own choice. If they like the role, they take it. They don't, they pass. It's the same for crew. No professional likes to work for free. It doesn't pay the bills. In most cases we've already been there and done that. Checks bounce too and most of us have had that happen in low budget films as well. Hell, I've had a producer of a major film bounce a check on me. When I think about it, I didn't really trust him and it was my fault because I wanted the credit for my resume.
The person on the IMDB posting made some comparisons to electricians, plumbers and other laborers working for a credit which was just stupid. It was like comparing a doctor handing you a bill for his fee after he saves your life when you have a heart attack in the stands at a baseball game or at a traffic accident. You either want to do it or you don't. It's your choice. Just make sure you're not exploited. Be smart, research the director, producer, production company and use an additional resource other than IMDB.
.....and cut!
Tuesday, February 2, 2010
Filmmakers, phonies and frauds!
Film makers are a funny breed. They will find an idea they are passionate about and in many cases find a camera, crew, cast and just start shooting. The old expression "we can fix it in post," is more prevalent now than ever before with anyone who owns a PC having the tools to edit.
Year's ago when festival films were still made on film there was more thought behind the process. Just making and finishing a film was an accomplishment in itself. Finding distribution was another feat that was hard to come by. It wasn't until the eighties when distribution opened up to include video and additional cable outlets that a person could make a good living making films and not have one in theaters.
Many films are being made today to get the film maker listed on IMDB. If you're not on IMDB you're not in the business (is the thought process) and films with little merit or production value proudly display their title, cast, crew and other important (not really) IMDB information on the Internet site. Those that haven't created a credit on IMDB can actually purchase them. I've heard an executive producer's credit on a short can go for as little as two or three thousand dollars. These people still think they're film makers and not frauds. "I need the credit to show my investors I have experience," wow, did he just say that? To me it's better to be honest with your investors and create a business plan with elements of the project outlining where the investor's money will travel and hopefully end with it traveling back into his pocket. I had an actress one time refer me to her IMDB site where she had numerous credits. However, next to each credit it said "uncredited." You earn a credit. Having an "uncredited credit" is like have a salary with no money. There's a reason you didn't get a credit and it was probably because you were an extra!
The ironic thing is I have a few credits listed on IMDB and some of the information is incorrect. It's like trying to break a code to get our film festival IMDB credit fixed so it makes any sense. We've got winners listed all the way back to 1994 but our festival started in 2005. It's important for a film maker to create pride in his work and even to embellish his accomplishments. Remember, there is nothing wrong with starting out with a good short or documentary before he tackles a 90 minute plus feature.
Next time I will donate time to find the perfect festival for your film!
Until then....GO COLTS!
.....and cut
Year's ago when festival films were still made on film there was more thought behind the process. Just making and finishing a film was an accomplishment in itself. Finding distribution was another feat that was hard to come by. It wasn't until the eighties when distribution opened up to include video and additional cable outlets that a person could make a good living making films and not have one in theaters.
Many films are being made today to get the film maker listed on IMDB. If you're not on IMDB you're not in the business (is the thought process) and films with little merit or production value proudly display their title, cast, crew and other important (not really) IMDB information on the Internet site. Those that haven't created a credit on IMDB can actually purchase them. I've heard an executive producer's credit on a short can go for as little as two or three thousand dollars. These people still think they're film makers and not frauds. "I need the credit to show my investors I have experience," wow, did he just say that? To me it's better to be honest with your investors and create a business plan with elements of the project outlining where the investor's money will travel and hopefully end with it traveling back into his pocket. I had an actress one time refer me to her IMDB site where she had numerous credits. However, next to each credit it said "uncredited." You earn a credit. Having an "uncredited credit" is like have a salary with no money. There's a reason you didn't get a credit and it was probably because you were an extra!
The ironic thing is I have a few credits listed on IMDB and some of the information is incorrect. It's like trying to break a code to get our film festival IMDB credit fixed so it makes any sense. We've got winners listed all the way back to 1994 but our festival started in 2005. It's important for a film maker to create pride in his work and even to embellish his accomplishments. Remember, there is nothing wrong with starting out with a good short or documentary before he tackles a 90 minute plus feature.
Next time I will donate time to find the perfect festival for your film!
Until then....GO COLTS!
.....and cut
Monday, November 16, 2009
I told you so!!!
There's an article in the Hollywood Reporter entitled, "Hollywood rethinks use of A-List actors." You can also find it on IMDB-pro. The article explains, "studios have decided to think twice about splurging on A-list movie stars and costly productions in reaction to the poor economy." It went on to quote box office figures from such films as THE HANGOVER ($459 Million), DISTRICT 9 ($200 Million) and even the new low budget thriller PARANORMAL ACTIVITY ($100 Million) of examples of films made for less money with no major stars that have obtained a large return on their investment.
I've been saying this in my business plan for over twenty years. Constantly both Major and second tier distributors would listen to my pitch or watch my completed film and state "we like it but you need a name to drive the picture into profit." Filmmakers go out, find a star who likes the script, but now your budget has doubled or even tripled because you had to add the additional expense of "Star Power." Now, it takes longer to get to profit. However, when it comes right down to it, the film is either entertaining or it isn't. It doesn't matter who's in it. Was the comedy funny and was the thriller, thrilling?
I went to the movies this weekend and even in this economy the West Orange 5 theater in Ocoee was packed. I spoke with the owner of the theater (Patrick) and he mentioned that "2012" will do quite well and that "DISNEY'S SCROOGE" not so much. "2012" is an effects driven film with John Cusack as the main star and SCROOGE is animated with Jim Carrey. SCROOGE has done in two weeks what "2012" has done in three days and PARANORMAL ACTIVITY has grossed more than the two films combined and I don't even remember the star of that film. It shouldn't take a marketing genius to know to get a film to profit you've got to keep costs down and production value up. If the studios listened to the independent filmmaker decades ago there wouldn't be a slow economy for studios.
My point is --- people are still going to the movies in droves! The good films do good and the bad films tank! The studios have been putting out more bad films with major stars creating enormous budgets and loss. then they toss good money after bad by buying advertising and trying to shove the film down our throats. Studios used to place 35-40 films on a production slate. There is an enormous amount of red tape to get a film "Green Lit" for production. Years ago, independent film makers earned what was called a "Negative Pick up." The studio would purchase the film because they knew it would make money and add it to their distribution slate. "CROCODILE DUNDEE' was made by Paul Hogan for a modest eight million or so Australian dollars. Paramount purchased the distribution rights for $10 million and invested a few million more in prints and advertising and it grossed $178 Million at the box office. No one knew who Paul Hogan was but a year later he was a household name and the studios raked in the bucks for two sequels as well. BLAIR WITCH was purchased for a couple of million and there was another large investment in retouching the film and for prints and advertising. The film was the highest grossing film in quite sometime and still ARTISAN managed to go broke in a couple of years making or distributing high priced films like REPLICANT. Hell, they made a remake of BLAIR WITCH (without the original filmmakers) for fifteen million and lost money! The original grossed over $250 Million worldwide and was made for under forty thousand. Artisan is now part of Lion's Gate, who has created a knack for picking up low budget horror films and turning a profit.
Remember Cannon International with the cousins Golan-Globus at the helm? They made and purchased low end product in the 80s and made a fortune. Once they got the studio mentality and started hiring big box office stars and shifting their business plan they were doomed for failure. Remember PIRATES (1986/Walter Matthau) made for an estimated $40 million and had a box office gross of $1.7 million? How about RUNAWAY TRAIN (1985/Jon Voight and Eric Roberts) made for and estimated $35 million and had a box office gross of just under $8 million? Cannon for years made more money on their low end product line than they did with their high priced, star driven films. Remember SLING BLADE? Who was Billy Bob Thornton until SLING BLADE was released? FARGO, LITTLE MISS SUNSHINE, JUNO, and don't force me to go down the list of horror films like CABIN FEVER, SAW (original), FRIDAY THE 13TH (original) and George Romero's classic NIGHT OF THE LIVING DEAD.
What I'm really surprised at it that it took the studios this long to make the announcement of something independent filmmakers have know for decades. If you're looking to invest in a film, seek out an independent filmmaker. Take a look at his business plan and roll the dice. You might be surprised at the outcome. People still go to the movies. They rent them online, watch them on the web and even still view them on cable TV.
.....and cut!
I've been saying this in my business plan for over twenty years. Constantly both Major and second tier distributors would listen to my pitch or watch my completed film and state "we like it but you need a name to drive the picture into profit." Filmmakers go out, find a star who likes the script, but now your budget has doubled or even tripled because you had to add the additional expense of "Star Power." Now, it takes longer to get to profit. However, when it comes right down to it, the film is either entertaining or it isn't. It doesn't matter who's in it. Was the comedy funny and was the thriller, thrilling?
I went to the movies this weekend and even in this economy the West Orange 5 theater in Ocoee was packed. I spoke with the owner of the theater (Patrick) and he mentioned that "2012" will do quite well and that "DISNEY'S SCROOGE" not so much. "2012" is an effects driven film with John Cusack as the main star and SCROOGE is animated with Jim Carrey. SCROOGE has done in two weeks what "2012" has done in three days and PARANORMAL ACTIVITY has grossed more than the two films combined and I don't even remember the star of that film. It shouldn't take a marketing genius to know to get a film to profit you've got to keep costs down and production value up. If the studios listened to the independent filmmaker decades ago there wouldn't be a slow economy for studios.
My point is --- people are still going to the movies in droves! The good films do good and the bad films tank! The studios have been putting out more bad films with major stars creating enormous budgets and loss. then they toss good money after bad by buying advertising and trying to shove the film down our throats. Studios used to place 35-40 films on a production slate. There is an enormous amount of red tape to get a film "Green Lit" for production. Years ago, independent film makers earned what was called a "Negative Pick up." The studio would purchase the film because they knew it would make money and add it to their distribution slate. "CROCODILE DUNDEE' was made by Paul Hogan for a modest eight million or so Australian dollars. Paramount purchased the distribution rights for $10 million and invested a few million more in prints and advertising and it grossed $178 Million at the box office. No one knew who Paul Hogan was but a year later he was a household name and the studios raked in the bucks for two sequels as well. BLAIR WITCH was purchased for a couple of million and there was another large investment in retouching the film and for prints and advertising. The film was the highest grossing film in quite sometime and still ARTISAN managed to go broke in a couple of years making or distributing high priced films like REPLICANT. Hell, they made a remake of BLAIR WITCH (without the original filmmakers) for fifteen million and lost money! The original grossed over $250 Million worldwide and was made for under forty thousand. Artisan is now part of Lion's Gate, who has created a knack for picking up low budget horror films and turning a profit.
Remember Cannon International with the cousins Golan-Globus at the helm? They made and purchased low end product in the 80s and made a fortune. Once they got the studio mentality and started hiring big box office stars and shifting their business plan they were doomed for failure. Remember PIRATES (1986/Walter Matthau) made for an estimated $40 million and had a box office gross of $1.7 million? How about RUNAWAY TRAIN (1985/Jon Voight and Eric Roberts) made for and estimated $35 million and had a box office gross of just under $8 million? Cannon for years made more money on their low end product line than they did with their high priced, star driven films. Remember SLING BLADE? Who was Billy Bob Thornton until SLING BLADE was released? FARGO, LITTLE MISS SUNSHINE, JUNO, and don't force me to go down the list of horror films like CABIN FEVER, SAW (original), FRIDAY THE 13TH (original) and George Romero's classic NIGHT OF THE LIVING DEAD.
What I'm really surprised at it that it took the studios this long to make the announcement of something independent filmmakers have know for decades. If you're looking to invest in a film, seek out an independent filmmaker. Take a look at his business plan and roll the dice. You might be surprised at the outcome. People still go to the movies. They rent them online, watch them on the web and even still view them on cable TV.
.....and cut!
Sunday, October 4, 2009
Prison Hy gene Films
Hey, at least it's film! Every few years I get the urge to make another feature. The film festival gives me a fix but sometimes it makes me long to return behind the camera. I'm close to returning a profit on "Storm of the Dead," (available on Netflix) a film I made in 2006 and I'm ready to try again. I've applied to every project in need of a director. I was thinking how bad could Prison Hy gene Films be? Film is film, right?
The IMDB postings are a joke. I've applied to anybody seeking a director but they are looking to attach a front line director in order to raise funds. I actually had one producer/writer ask me to rewrite the script for the screen and present it to my investors. I don't know what they're teaching these people in film school but "chain of command" isn't one of them. The producer hires the director and by hire I mean pay the director for work to be done on a project. I constantly see on IMDB the same people rewording their posts in an attempt to get something for nothing. Whatever happened to the good old days when people actually made money making movies. It seems in this computer age where everyone and his brother has a HD camera everyone is making a movie but very few have the ability to hire someone.
It's frustrating but as a product of the film industry boom of the 1980's there is a formula to follow. I just have to be patient and weed through the scam artists. In the 80's you could always find a video distributor that would put up a few hundred thousand to make a film with a recognizable name or two. Now, very few want to pay advances. They would rather you make the film and they bid on the project after the fact. I know an "A-List" director who made a film for twenty-five million and it went direct to video. How the hell am I supposed to compete with that? You use the SAG-indie contracts and they make you place the SAG logo according to budget. You're using a $200K and under it's in one spot but you use a $625K and under budget is found in another spot. You think the distributors don't know that? How can you tell someone you made a film for $500K when your SAG logo is placed where the $200K budget requires it? Simple, you can't. Now you've got to out smart them. Make the film for $100K and place the logo in the $200K spot. At least they'll think you spent $200K. Better yet, make the film for $400K and place the $625K logo and perhaps you can make $225K.
I'd rather pay the actors regular scale, place the SAG logo where ever I choose and let the buyers argue over how much I made the film for..... They don't teach that in film school either! Film makers are fighting, pushing, shoving for the right to receive tax incentives from different states. That's all well and good if you have a high enough budget to make tax incentives worthwhile. If you have the 'cash' you have the ability to create your own incentives by making better deals. I'd rather save $2500/day on location fees than receive fifteen percent of my tax expenditures back. Work it out on paper and then decide what's best for the project. In the meantime, if you're in need of a veteran director that can give you a production value to cost ratio of over 7 x 1 and has a track record with distributors, give me a call. I'm looking for a funded project!
.....and cut!
The IMDB postings are a joke. I've applied to anybody seeking a director but they are looking to attach a front line director in order to raise funds. I actually had one producer/writer ask me to rewrite the script for the screen and present it to my investors. I don't know what they're teaching these people in film school but "chain of command" isn't one of them. The producer hires the director and by hire I mean pay the director for work to be done on a project. I constantly see on IMDB the same people rewording their posts in an attempt to get something for nothing. Whatever happened to the good old days when people actually made money making movies. It seems in this computer age where everyone and his brother has a HD camera everyone is making a movie but very few have the ability to hire someone.
It's frustrating but as a product of the film industry boom of the 1980's there is a formula to follow. I just have to be patient and weed through the scam artists. In the 80's you could always find a video distributor that would put up a few hundred thousand to make a film with a recognizable name or two. Now, very few want to pay advances. They would rather you make the film and they bid on the project after the fact. I know an "A-List" director who made a film for twenty-five million and it went direct to video. How the hell am I supposed to compete with that? You use the SAG-indie contracts and they make you place the SAG logo according to budget. You're using a $200K and under it's in one spot but you use a $625K and under budget is found in another spot. You think the distributors don't know that? How can you tell someone you made a film for $500K when your SAG logo is placed where the $200K budget requires it? Simple, you can't. Now you've got to out smart them. Make the film for $100K and place the logo in the $200K spot. At least they'll think you spent $200K. Better yet, make the film for $400K and place the $625K logo and perhaps you can make $225K.
I'd rather pay the actors regular scale, place the SAG logo where ever I choose and let the buyers argue over how much I made the film for..... They don't teach that in film school either! Film makers are fighting, pushing, shoving for the right to receive tax incentives from different states. That's all well and good if you have a high enough budget to make tax incentives worthwhile. If you have the 'cash' you have the ability to create your own incentives by making better deals. I'd rather save $2500/day on location fees than receive fifteen percent of my tax expenditures back. Work it out on paper and then decide what's best for the project. In the meantime, if you're in need of a veteran director that can give you a production value to cost ratio of over 7 x 1 and has a track record with distributors, give me a call. I'm looking for a funded project!
.....and cut!
Tuesday, August 18, 2009
I'm FIRED!!!!
According to IMDB today, I was replaced as COO of 20th Television by Greg Meidel. Not kidding, go to my IMDB (Bob Cook #1) and the news article has been added to my page. I've been confused before with who I'll call the other Bob Cook and even tried to get it straight. Falling on deaf ears. I can only hope I find work soon.
But I'm on IMDB!!!
Internet Movie Data Base or IMDB.com, as it's called is a resource for movie fans and industry professionals. IMDB is free and the site is paid for with banner ads galore. There is also an IMDB-pro, which most industry professionals subscribe to in order to research actors, producers, directors, and scam artists.
Have you ever tried to fix or add a credit on IMDB? The red tape is frustrating. Our festival had it's own IMDB page but some how got confused with another older festival that died in 1994. I've tried to fix the problem hours at a time but there is no direct contact. No problem solvers. I've had people add names to my films for credits never earned and I've tried to correct them but it falls on deaf ears. This had me searching the IMDB files on almost every title, actor, producer, director and just about every category you can think of looking at their credits.
How does "Uncredited" help an actor's resume? Seriously, you were insignificant enough NOT to receive a credit, why should anyone other than your parents care? Some people just want IMDB credit and they will do anything to get it. I saw a writer/actress with two credits. One was an "Uncredited" role in a film that hadn't received distribution and the other was for a screenplay she optioned to be developed into a feature. However, upon further review, she also wrote the screenplay, which makes everything bogus.
Take a look at the Job Postings and openings on IMDB. Ninety-nine point nine percent of them are "no pay!" What happened to the PRO in IMDB-PRO. Everyone is looking for something for nothing. I had a script sent to me for my consideration as a director. I kind of liked the script. It was a thriller with promise. It needed some work but don't they all. There was no funding in place but she wanted my name on a LOI and for me to recruit any crew or name acting friends, and then write a business plan. When I told her I needed an agreement with a retainer and additional promises for when the film received funding, she said that's not the way it's done. She's twenty-five, I'm fifty-seven and done it twenty times. When did the industry change? Needless to say, that's another film that won't get made. Kids are coming out of film school every semester and they are hungry to work for free. The problem is they don't have the experience or contacts it takes to get a movie made. I'm not talking credit card budgeted films but movies that an audience will be able to say they watched, enjoyed and perhaps even purchased for their library. Festival filmmakers should be commended. They go out, raise money, make their film and hope for the best. The good ones move up an increase their budget next time and the bad ones get to complain how unfair the world is and either try it again or go home and take a job at the local video store or movie theater.
Have you ever "Googled" yourself to see what people are finding out about you? Try it, it's fun. And remember, if I wanted to work for free, I would have started a film festival! Oh, crap, did I say that!
.....and cut!
Have you ever tried to fix or add a credit on IMDB? The red tape is frustrating. Our festival had it's own IMDB page but some how got confused with another older festival that died in 1994. I've tried to fix the problem hours at a time but there is no direct contact. No problem solvers. I've had people add names to my films for credits never earned and I've tried to correct them but it falls on deaf ears. This had me searching the IMDB files on almost every title, actor, producer, director and just about every category you can think of looking at their credits.
How does "Uncredited" help an actor's resume? Seriously, you were insignificant enough NOT to receive a credit, why should anyone other than your parents care? Some people just want IMDB credit and they will do anything to get it. I saw a writer/actress with two credits. One was an "Uncredited" role in a film that hadn't received distribution and the other was for a screenplay she optioned to be developed into a feature. However, upon further review, she also wrote the screenplay, which makes everything bogus.
Take a look at the Job Postings and openings on IMDB. Ninety-nine point nine percent of them are "no pay!" What happened to the PRO in IMDB-PRO. Everyone is looking for something for nothing. I had a script sent to me for my consideration as a director. I kind of liked the script. It was a thriller with promise. It needed some work but don't they all. There was no funding in place but she wanted my name on a LOI and for me to recruit any crew or name acting friends, and then write a business plan. When I told her I needed an agreement with a retainer and additional promises for when the film received funding, she said that's not the way it's done. She's twenty-five, I'm fifty-seven and done it twenty times. When did the industry change? Needless to say, that's another film that won't get made. Kids are coming out of film school every semester and they are hungry to work for free. The problem is they don't have the experience or contacts it takes to get a movie made. I'm not talking credit card budgeted films but movies that an audience will be able to say they watched, enjoyed and perhaps even purchased for their library. Festival filmmakers should be commended. They go out, raise money, make their film and hope for the best. The good ones move up an increase their budget next time and the bad ones get to complain how unfair the world is and either try it again or go home and take a job at the local video store or movie theater.
Have you ever "Googled" yourself to see what people are finding out about you? Try it, it's fun. And remember, if I wanted to work for free, I would have started a film festival! Oh, crap, did I say that!
.....and cut!
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