There is a smoke-and-mirrors dance producers have to perform to bring all sides to the middle, but when it comes to key talent attachments, if it’s not verifiable, it doesn’t exist.
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.
Something that bigger-budget producers unknowingly take for granted is the availability of different types of financing. But any ultra low budget producer (under $2m) can tell you with frustrating familiarity that they can fit their financing structure on a postage stamp.
Somebody in Springfield must follow my blog, because it appears they're going to update the film incentive to include non-resident cast.
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.
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.
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...
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