Here is my filmography: http://www.imdb.com/name/nm2137573/
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link Lets make feature films
- Thread starter singhania_vivek
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Ok, so I looked at your filmography. It's impressive. What I'm most impressed by is that it's very clear that you're fully committed to this path, someone who loves creative work enough to show up everyday and go the distance. That's rarer than it should be in my opinion.
Correct me if I'm mistaken, but you are a producer, looking for serious creatives to work with in developing projects?
I thought a brief round of introductions might be in order.
Chris is a Christiaan filmmaker who is kind of quintessential indie auteur, writer, director, editor, stedicam operator.
I'm about the same except my focus is cutting edge technology, and systemic reduction of costs via orchestrated synergy utilizing AI, cell animation, cg, and greenscreen techniques to create modular workflows. I am not affiliated with any ideology, but I like to read Plato.
Mara writes scripts professionally and has a good grasp on relatable human drama.
Sean is imaginative solo filmmaker that's constantly working to develop new ideas.
IvonV produced a comedy series, and a few short films, and is a viable project coordinator with HR skills. Very easy to get along with.
Direcktorik is a merc director in LA, who probably has the most experience and best personality out of all of us.
Camblamo is another Indie director that has shown enough passion for the artform to go to considerable lengths to make films.
Jackson is a younger comedy writer/director that actually has a pretty good sense of humor and a lot of energy. I could really see him being valuable if added to a writing staff on a comedy.
Leppy is an old school stop motion animator who does children's programming. You may not be blown away at first glance, but this guy is hardworking, consistent, accomplished, and the product is widely marketable to small children, with native VO providing an opportunity for easy translation to numerous markets. I could see his series making money for a producer with the right connections to monetize it.
Last, but certainly not least, Scoopicman is an accomplished indie feature director, who kind of embodies why people liked low budget indie movies in the first place.
There are many more talented people that come through this place, I'm sure, those are just some of the people that I'm aware of.
Hopefully I've interpreted your area of interest correctly, as opposed to wasting your time. Sometimes new people come through and don't get much response, and we never see them again. Considering your body of work, you'd likely be a great addition to the community here, so I thought I'd extend a more informative greeting.
Correct me if I'm mistaken, but you are a producer, looking for serious creatives to work with in developing projects?
I thought a brief round of introductions might be in order.
Chris is a Christiaan filmmaker who is kind of quintessential indie auteur, writer, director, editor, stedicam operator.
I'm about the same except my focus is cutting edge technology, and systemic reduction of costs via orchestrated synergy utilizing AI, cell animation, cg, and greenscreen techniques to create modular workflows. I am not affiliated with any ideology, but I like to read Plato.
Mara writes scripts professionally and has a good grasp on relatable human drama.
Sean is imaginative solo filmmaker that's constantly working to develop new ideas.
IvonV produced a comedy series, and a few short films, and is a viable project coordinator with HR skills. Very easy to get along with.
Direcktorik is a merc director in LA, who probably has the most experience and best personality out of all of us.
Camblamo is another Indie director that has shown enough passion for the artform to go to considerable lengths to make films.
Jackson is a younger comedy writer/director that actually has a pretty good sense of humor and a lot of energy. I could really see him being valuable if added to a writing staff on a comedy.
Leppy is an old school stop motion animator who does children's programming. You may not be blown away at first glance, but this guy is hardworking, consistent, accomplished, and the product is widely marketable to small children, with native VO providing an opportunity for easy translation to numerous markets. I could see his series making money for a producer with the right connections to monetize it.
Last, but certainly not least, Scoopicman is an accomplished indie feature director, who kind of embodies why people liked low budget indie movies in the first place.
There are many more talented people that come through this place, I'm sure, those are just some of the people that I'm aware of.
Hopefully I've interpreted your area of interest correctly, as opposed to wasting your time. Sometimes new people come through and don't get much response, and we never see them again. Considering your body of work, you'd likely be a great addition to the community here, so I thought I'd extend a more informative greeting.
Thanks Nate. I am ready to help all of you here if you are serious about making feature films. yes it does require certain resources but those who are serious go out and find those resources - mostly as favours. Its important to make films rather than keep planning films. This is my simple philosophy. These days with technology making filmmaking much more cost effective means we can actually make our dreams come true. There is also a trend of collective filmmaking wherein cast and crew all contribute to the making so they can all achieve what they have set out for.
I'm sure we'd all be interested in better understanding how you've facilitated the production of so many films, and how you've created ROI from lower budget films. Obviously you could not have produced 20 feature films without developing the skillset to return money to investors. In example, if you're an expert at orchestrating foreign pre sales, which is one of the few strategies that returns budgets for filmmakers without industry connections, knowing that would give us a clearer view of what you can bring to the table.
Funding for indie films is such a major issue that it wipes out about 99% of indie filmmakers before they get enough experience to have a fighting chance. So I'm curious about how you've made it work, and to be honest, a bit skeptical about the line "mostly as favors". It's not that I don't know what you mean, in fact, I know exactly what you mean, it's just that most indies burn through all their favors in the "toddler" stage of releasing features. Are you working with crowdfunding, a network of angel investors, or similar?
I'm thinking that I'm simply misunderstanding what you're saying. Typically the producer's main job is to raise funding for projects they believe will be profitable, and then oversee budget allocation, restrict scope creep, and handle basic paperwork like optioning the script and securing music rights. Just to facilitate communication here, could you elaborate a bit on how you see the role of producer?
Funding for indie films is such a major issue that it wipes out about 99% of indie filmmakers before they get enough experience to have a fighting chance. So I'm curious about how you've made it work, and to be honest, a bit skeptical about the line "mostly as favors". It's not that I don't know what you mean, in fact, I know exactly what you mean, it's just that most indies burn through all their favors in the "toddler" stage of releasing features. Are you working with crowdfunding, a network of angel investors, or similar?
I'm thinking that I'm simply misunderstanding what you're saying. Typically the producer's main job is to raise funding for projects they believe will be profitable, and then oversee budget allocation, restrict scope creep, and handle basic paperwork like optioning the script and securing music rights. Just to facilitate communication here, could you elaborate a bit on how you see the role of producer?
According to me a producer's role is far greater than justfund raising. Simply, a Producer is like the CEO and responsible for the complete activity on a project by project basis. There are times when "good" and "reputed" Producers are hired by Studios to produce projects for them. There is no fund raising involved in such projects. But high quality at lowest costs and within time deadlines. All this despite knowing how exposed filmmaking is to weather, whims and fancies of big named actors and crew and even strikes and other delays that come up from time to time.
So I would say I Focus on getting a project made on these parameters. Even micro budget ones are difficult yet a challenge to produce. The days of presales are pretty much gone. These days indie films are usually picked up once a rough cut is ready. But the key is to make it for so little that even online distribution can recoup the moneys besides fetching acclaim and awards if the film does turn out worthy of those
So I would say I Focus on getting a project made on these parameters. Even micro budget ones are difficult yet a challenge to produce. The days of presales are pretty much gone. These days indie films are usually picked up once a rough cut is ready. But the key is to make it for so little that even online distribution can recoup the moneys besides fetching acclaim and awards if the film does turn out worthy of those
Ok, that's a reasonable response. I tend to agree with your analysis of the indie market. I of course understand that studio producers don't have to raise money, since it's built in, but for indie films it's a job that's frequently done by a producer, mainly because most artists don't actually have a lot of experience cold calling for investments in a high risk, overcrowded field.
I actually think we're on the same page, unfortunately it's not a great page. Make a product with no up front capitol, then send it out to compete in a market against people with massive up front capitol. If I'm understanding correctly, you're basically in the same boat I am, doing the same things. Likely in a more populus area with lower costs. I for example am geographically isolated, which adds an extra layer of up front cost to any live action filmmaking, which is why I've transitioned into starting up an animation studio, where budgets are more easily controllable, and market quality standards can be reached with less up front spend.
I appreciate your candor. For me personally, what I've seen over the last 15 years has not led me to believe that unfunded live action films stand a chance in the market. I'm not trying to be argumentative, I'm just calling it like I see it. The primary hardline is marketing budget. Even if you raise a significant budget, most indies spend the entire thing on the film, and have to cut every corner, and accept a result that often falls short of their vision. Then they try organic marketing, which has been oversaturated to the point of becoming almost useless. In example, I just worked on a feature that's selling on Amazon, and the script was good, they had maybe 200k of their own money to start, and I think they've made back 4 grand or so. It was comparable in quality to some of what you've produced (at least from the few clips I watched).
It's certainly a complex problem, that's become more difficult over the years, so I hope we can all put our heads together over time and come up with a methodology that makes sense, both in terms of allowing talented creatives to realize their artistic vision at a level that's effective, and finding a path to ROI.
I actually think we're on the same page, unfortunately it's not a great page. Make a product with no up front capitol, then send it out to compete in a market against people with massive up front capitol. If I'm understanding correctly, you're basically in the same boat I am, doing the same things. Likely in a more populus area with lower costs. I for example am geographically isolated, which adds an extra layer of up front cost to any live action filmmaking, which is why I've transitioned into starting up an animation studio, where budgets are more easily controllable, and market quality standards can be reached with less up front spend.
I appreciate your candor. For me personally, what I've seen over the last 15 years has not led me to believe that unfunded live action films stand a chance in the market. I'm not trying to be argumentative, I'm just calling it like I see it. The primary hardline is marketing budget. Even if you raise a significant budget, most indies spend the entire thing on the film, and have to cut every corner, and accept a result that often falls short of their vision. Then they try organic marketing, which has been oversaturated to the point of becoming almost useless. In example, I just worked on a feature that's selling on Amazon, and the script was good, they had maybe 200k of their own money to start, and I think they've made back 4 grand or so. It was comparable in quality to some of what you've produced (at least from the few clips I watched).
It's certainly a complex problem, that's become more difficult over the years, so I hope we can all put our heads together over time and come up with a methodology that makes sense, both in terms of allowing talented creatives to realize their artistic vision at a level that's effective, and finding a path to ROI.
Never easy yet we seem to hang in there
beats meImpressive bio! How did this become a debate about the definition of producer?