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Tuesday, January 14, 2020

Consumer Laundering – Piracy’s Silver Lining Unfolds

Operators of online piracy websites should take note, they're sitting on the next media gold rush: Consumer Laundering, or, Scrubbing Your Subscribers.

Currency Woes – Why the Weak Dollar Is Helping and Hurting Hollywood

A week dollar is great for US producers looking to secure foreign pre-sale contracts, but it can also work against US producers looking to shoot abroad.

Film Closings’ Response to Chicago Tribune & Screen

Film Closings was featured this week in a Chicago Tribune article as well as in Screen juxtaposing what others in the state were saying and rallying for when it came to the IL film incentive. This post gives a broader understanding to our view on the credit climate overall. As well as a Pop Quiz.

Film Funds: It’s Not You, It’s Them

A lack of funding options is creating opportunities for new funds to enter the indie market; understanding their funding criteria is Job #1 for producers...

Highlights From The 3rd Annual Film Finance Forum: Part 2

Last week I moderated Variety's panel on “How to Make Crowd-Funding Work for Filmmakers” and it marks a seminal moment in the convergence of filmmaking and technology. Hear me out...

Oscars & Financing: “A-list” isn’t “Always-List”

What does A-List mean and what effect does it have on getting a film financed? Does winning an Oscar make you an A-List star? Depends on how you define A-List.

Power to the People: The Democratization of Film

For indie filmmakers, Production is the first of the three barriers-to-entry to crumble under the weight of the masses. Finance and Distribution are next.

Note: Oscars Don’t Finance Films

Why are Kathryn Bigelow & Mark Boal, the Oscar wining director & writer of The Hurt Locker, having to leak their pitch to the press to drum up financial support?

Indie Producers Don’t Understand Tax Credits

Indie producers are on a relentless quest to find the elusive "final 20%" of their budgets. They've raised the equity, made the presales, maxed the gap, and still they come up 20% short. Even with a whopping 40% cash rebate! So why then are they still stumbling around trying to fill that final 20% of their budgets?! Because producers can't get out of their own way.

Star Power Is Anything But.

I can’t speak for studios, but in the indie marketplace, this fundamental shift of star power declining could be good news for producers. A solid script and a proven producer might be a bigger value to buyers than a star’s name.

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