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.
A producer recently inquired as to how much she should allocate to the producer of marketing and distribution (PMD), in her film's budget.Seriously? Another producer title?!While initially dismissive of that concept, I've actually come to terms with the viability and necessity of such a role, given the inability of most independent films to acquire distribution in the United States, which is mostly due to:
Somebody in Springfield must follow my blog, because it appears they're going to update the film incentive to include non-resident cast.
It is nothing short of mind numbing how much email flies around during film closings. Executive teams representing senior banks, mezz lenders, tax credit lenders, equity financiers, bond companies, producers, and talent, along with their in-house and out-house lawyer teams and other reps have taken email’s “Reply to All” to unimagined and unmanageable extremes, but Google may have the answer...
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.