THE UNKNOWN (a dedicated production thread)

Mods please feel free to move this/these posts to wherever you feel they may best work :yes:

Hi everybody!

So I was asked to start a dedicated production thread here for my upcoming film, “The Unknown”, which is currently in Pre-Production. There’s going to be a ton of info on here, everything from writing the script, writing a business plan that actually works, crowdfunding, finding and meeting with investors, casting, shooting a proof-of-concept trailer, choosing the right tools for the job, location scouting, doing a budget that’s both realistic and allows some wiggle room, hiring crew, dealing with permits, production design, hair, make-up and wardrobe testing, sound issues, shooting, lighting, working with actors, steadicam vs shoulder mount options, post workflow including editing, sound and color grading, dealing with theaters/festivals and releasing the film, and ultimately finding the right distributor. Whew! Of course, there will also be the definite “don’t do it this way” parts as well, so you can learn from mine or others’ mistakes. All along the way, please feel free to ask any questions you may have. It may take me a few days to get back to you, but I will reply!

I will write the sections in the order that they occur(ed) with the project (adding as the project progresses), and each section will have it’s own post, so let’s get started! :D
 
Writing The Script

I had written three feature scripts before I wrote “The Unknown.” Each one was, in my humble opinion, better than the last. I usually write two or three drafts before anyone outside of my wife ever reads them, because I tend to make a lot of changes to my first draft once it’s done. So I wrote “The Unknown” over the course of 9 days in September 2009. I was actually in Post-Production on my first feature I had directed called, “The Mix-In.” I needed a mental break from the insane schedule we had been enduring for that shoot, and so every night at 9 p.m. I would write for a few hours. I am a fairly fast typist so I tend to write quickly, and I can honestly say I’ve never had writer’s block. I can usually see the whole film in my head, so it’s just a matter of putting it down on paper.

For “The Unknown”, I knew the basics right away: I knew I wanted to have it take place in only 2-3 locations to keep the story tight and the budget down. I knew I wanted most of the film to be done using a steadicam. I knew I wanted to try and light as organically as possible. I knew how it should begin and I knew how it should end.

You might be asking yourself “What does it matter at this point about budget, filming, or lighting?” and the answer is simple: If you are, like myself, an indie filmmaker, you either write and direct your films or you write, direct and shoot them. It’s almost the nature of the beast. Many of us, due to sheer economics, are pseudo Robert Rodriguez’s. We have to be. Now if your goal is to just be a writer, than obviously you don’t have to think about anything but the story. But that’s not the case with me.

After I finished the first draft I put the script away and didn’t touch it until late January 2010. By mid-February I had my second draft finished. I began a third draft in March 2010, and finished that in the same month. I showed it around to some people I know, who all said the same thing: “That’s a great script, but I don’t think I can read it again.” They all said the story was gripping, but very harsh and almost too realistic. A few of them said they felt ill after reading it, the same way they felt at the end of films like Se7en or The Girl With The Dragon Tattoo. To me, that was great!

Then I got into some other projects, and “The Unknown” sat for a year. In April 2011 I decided it was time and wrote a fourth draft of the script, in which I added to the ending. The original ending was fine, and I liked it, but it didn’t quite give the audience enough closure on the character’s I thought. I did one more draft in July of 2011, and that is the shooting draft we will be using. It had only minor changes to it, mostly just a word change here or there, nothing major at all.

I used Final Draft 8 to write the script in. I also have Movie Magic Screenwriter, but I find F.D. to be more intuitive. Ultimately it comes down to personal preference in my mind, because they’re both fantastic programs.

The story itself comes really from my own personal fears as both a husband and a father, and I did my due diligence, researched things that are in the script, so everything is as realistic and accurate as possible. There are many things that were culled from events that really happened to me throughout my life, which I think helps to add a level of sincerity to the project as a whole. The old saying always holds true: Write what you know.

I of course got the script registered through the WGA right away, as well as copyrighted.
 
Casting

After finishing the fourth draft of the script, I started really thinking about what sort of budget I would need, and decided on $100,000. At that point (May 2011) my thought process was that I could shoot the film on a Canon 5D mark II, and that would save me tons of money. But where was I going to find that kind of cash? I didn’t have a rich uncle to go to, and my friends are all fellow indie filmmakers who are as broke as me. So I decided what I should do is to do a serious job casting the film, get LOI’s (Letter’s Of Intent) from all key cast and crew, and then shoot a proof-of-concept trailer to use to attract investors.

The first casting notice went out on Craigslist on May 11th 2011. In my head, through the writing of the script, I knew what I wanted the characters to look like. The waiting game had begun.

One of the first people to reply was an actor by the name of Douglas Sidney. Doug has been in tons of stuff, multiple features including Hunting Buddies, Potpourri, In Harms Way, plus a lot of commercial work for clients like Target, Best Buy and other big name companies you’ve definitely heard of. When I saw Doug’s headshot, I knew I had to have him audition. He absolutely looked like the character I had envisioned as Jacob Martin in “The Unknown.” I replied back to him, letting him know we were definitely interested in having him audition, and that I would be in touch once we had our audition dates and location locked down.

A few weeks passed and we received hundreds (seriously) of replies, and not just from MN where we were, but from all over the USA. It was crazy. I was spending 8-10 hours a day just replying to emails and questions from actors about the various roles.

We found our casting call location through a friend of mine’s dad who owned some properties and allowed us to use one he had that was vacant at the time. We sent out the notices that casting sessions would be on June 4th, 5th, 11th and 12th. We also posted another open casting call notice on CL to try and get as many people as possible to show up.

June 4th came and I was seriously stoked! We set up our casting room, a waiting room area, the camera and a 26” monitor to watch the actors on. We printed off tons of sides, taken from key points in the script itself, and had them in various labeled manila folders for people to take when they got there. And we waited.

That was the longest day. It sucked. We only had four people show up, and only one of them was worthy of a call-back. Needless to say I was a bit bummed.

The next day we showed up and there were already people waiting. I was instantly rejuvenated, and called up a friend of mine, Chris Sias, to see if he wanted to come help, as I had a feeling we would need it. Chris agreed, and said he would be there around 3 that afternoon. That day we saw 28 people, and had several that I wanted to see come for call-backs.

My criteria for call-backs is simple. Can they act without over-acting? Do they look anything like what I had in mind for the role? Can I sell their “look”, or in other words, are they attractive? This last one may seem a bit cruel, but it’s a harsh reality in this business. People, audiences, do not pay to see ugly people on the screen (unless it’s a comedy), at least as a general rule. Casting attractive people is a huge part of eventually getting your film picked up by a serious distributor and having it go somewhere. When I first started making films and having casting calls, I tried to cast everyone I saw in some role or another, because I thought I had to. The problem was, even I didn’t want to see some of these people on screen. It took awhile, but then I had a colleague who simply said, “Ugly people don’t sell movies. Sex sells. Beautiful people sell movies. Do you think people would pay hundred’s of millions to see Brad Pitt, Tom Cruise, Angelina Jolie or Natalie Portman if they all looked like Ron Howard’s brother? No way man.” No way indeed. He was right, and from then on I became what a good casting agent is. Hard, cold, and ruthless in my scrutiny of actors. Can they act? Good. Are they attractive and does their look match what the director wants? Good. If not, then they might work for background or featured extras, but that’s it. I really dig Clint Howard and I think he’s a fun actor, but there’s a reason that dude’s not cast as a leading man. Just sayin’.

The next weekend was insane, and by the end of the final day we had seen over 150 people. Some were flat out “no’s”, and some were just okay. There were a total of 15 people I wanted for call-back’s. Over the next three months we had a total of five other casting sessions, including three call-back’s. There were two serious contender’s for the role of Jacob, including Doug, and we had two of the three kids (both the girls). We also had our “Voice”, who we had after the second day of casting. I had our sound guys over at Seamlessound, whom I had worked with before, run all the possible “Voice” auditions through a processor to make them sound like they were over the phone, and then we listened to them all. One stood out far beyond all the rest, and we all agreed he was the one. But we still needed our female lead of Emma, and our little boy of Joshua. We had one final casting call go out in August, this time through an actual casting agency. The day we had our auditions we easily had another 50 people show up. Two of those ended up becoming the missing members of our cast, after a few call-back’s.

During call-back’s I decided to really, really put my actor’s through the ringer. I mixed and matched several different possible “Martin families”, ran them through multiple scenes, including time with the kids, romantic moments between the two leads, and seriously emotional moments as well. I needed to see them cry, laugh, be intimate, and above all else, be a family. It’s my opinion that too many families in films don’t seem like they’re real. Many times it seems like these actors just met that day. There’s no connection between them, and to me, for the success of my film, there HAD to be a connection.

All-in-all it took five months to cast the film. A film that had no budget yet lol. I was upfront with every actor that auditioned, and told them my intentions and what we needed to do to get our funding, and they all were great about it. I’ve been told since that nobody casts this way outside of major films, taking so many months and holding so many auditions. My response was that I knew how important it was to cast the right people, and not just anybody.

One thing we found during call-back’s was that Doug was incredible at improv, and that it elevated the sides to that “next level.” We knew we would have to find people who could keep up with him AND make it seem natural. So much of what ultimately ended up in the POC trailer was improved, between all the family member’s. We found kids and our Emma that could all keep up with Doug no problem, and the results were so amazing! Every take felt genuine. Never forced. To me that’s huge. For actor’s to just be in the moment, to become those character’s.
 
Shooting The Proof-Of-Concept Trailer

This was a headache. Because we had no budget, and had to work around everyone’s schedules, we ended up having to shoot this in a total of 12 hours, over the course of five days between September and October 2011. I had written a custom script for us to shoot this trailer with, parts of which were taken from the script and parts that were just for this trailer to help speed up some things that happen in the full script over time. The script ended up being 11 pages long, and I told my producer’s what we would do is shoot everything and then decide what to use later. If you do the math, that gave us just over an hour to set up, rehearse and shoot each page. Insanity I tell you.

We shot on a Canon 5D mark II, and had Seamlessound there all but two of the days. On those days I used my own boom mic setup and one of the producer’s would be the boom operator. We shot in my home and at a friend’s uncle’s business for the office shots (cool fact about the office location: in the adjoining warehouse back in the day they had built and shot the set for Prince’s house in the film Purple Rain).

Our original plan was to release the trailer on Halloween, but that quickly became unrealistic. My kitchen has yellow walls, but with the color grade applied they became a sickly green, so into After Effects I went and, using Colorista 2, I digitally changed them to white. Now yes, if you look VERY closely in a few spots you can see a bit of digital fringing, but I can happily say that not one person has caught that yet! However, doing this took me about a week or so, having to employ every trick in my book to mask out, rotoscope and motion track the shots. Major pain in the neck.

I also had to apply a bit of digital make-up to the actors as they were all a bit pale due to the fact their summer tans had faded and we live in MN. This too involved massive amounts of tracking, and took about a week to finish. I knew then I needed to make sure to budget in someone for make-up lol.

There was also some debate on the color grade to use. I did a total of four versions, which I then showed to my producer’s and we debated over. I knew what my plan was for the film, but that wouldn’t work for the trailer as it involves, well, you’ll have to wait and see lol. Ultimately, we chose a slightly oversaturated look, very Hollywood-esque.

Scoring the trailer was a whole different monster. I edit to music, and because so many musical pieces use the same 4/4 time, it’s easy to replace one piece and have it sync up fine with another. However once I met with the composer, and we went over what I wanted, it took several days to get just right. I also took out an ad for a singer to perform the final vocals in the piece. It took a full day with her to get what we needed, and by the time she left she could barely speak. But it all came together nicely and once we added some “airy” effects to her vocals I had what I wanted.

Then we got our “Voice” in to do his ADR work, which took another day. During that day one of my producer’s had the idea of having “The Voice” narrate the trailer. I wrote about a dozen or so additional lines for him to say, many of which appear in the final trailer.

Editing took a total of about three weeks. The thing I love the most about editing is how you can use it to completely change the feeling of a scene. Take the office scene for example: In the script, and when we shot it, it was an upbeat, happy day for Jacob at the office. He has a great phone call from a client, gets a text from his wife telling him she loves him, and he’s feeling pretty good. But once I edited it that way, it slowed the pacing down way too much, so I changed it up and made it feel like he was having a bad day, and was frustrated. And it worked great! The edit also changed quite a bit from the first cut, which was over five minutes, to the final which was half that. It also got changed up once we decided to have “The Voice” narrate the trailer, as that tonally changed the feeling of the whole thing.

After that the trailer was sent over to the guys at Seamlessound to work their magic on it. About four days later I got the sound back, and then we decided to wait until December 1st to release it along with our Indiegogo campaign we were launching.

The response to the trailer was amazing! People really seemed to dig it, and while some people had parts they didn’t care for, most of those came down to personal preferences, and not technical or storyline issues (example using 100,000 instead of One Hundred Thousand). Over 8700 people in 141 countries have watched it, which is absolutely incredible! I could not be happier with the response we got.
 
Crowdfunding

This will be short and sweet. Obviously we were unsuccessful in our campaign in terms of it raising the funds we needed/wanted. BUT it did gain us the attention of every one of our investors, which is a very good thing! I’m the first to admit, I’m not a marketing guy. My thoughts when we launched were simply “Maybe we can make enough to go to an investor and show we have something we’re putting up too.” We launched, and I did my best to get the word out. I emailed over 1200 people, I published to my Facebook pages (both personal and business), I posted in every forum I was a member of, and I talked about it to everyone. My producer’s did the same, and while we did manage to raise over $600, that was a far cry from the $300k we needed.

About halfway through the campaign I was contacted by a couple investors and producer’s who said if we could raise just 10% of our goal they would guarantee us our full budget, because it would show them that there was enough interest in the project. One of these investor’s came through, and ended up giving us $100k more than we needed, which really is making things easier, but more on that when I get to the investors section later.

The response to the crowdfunding campaign was mixed. People loved the trailer, but there was a TON of negativity about the amount we were shooting for. People said there’s no way we’ll ever get that big of a budget, that the trailer didn’t look like it was of high enough production value to garner the budget we wanted, and that there was no way we would be able to raise that via crowdfunding. Now, I’m the first to admit that the goal was huge, but in my experience the people who are always telling you what you CAN’T do are the ones who are too afraid to really reach for their dreams and put themselves out there. So I really paid them no mind. Once I started getting contacted by other investors and producers, I knew I was going to get my budget, it was just a matter of time.

Overall I think it was a positive experience, and I would definitely do it the same again if I had to. Some people suggested trying for smaller amounts, at different times of the year. Ultimately I cannot say if that would make a difference or not.
 
Subscribed! Great journal right off the bat.


And if there's one thing your crowdfunding experience can teach us all...even if not successful, you never know who may be watching.
 
Writing A Business Plan (That Actually Works)

This is going to be a long one, so bare with me.

There are a TON of sites online that talk about writing a business plan, specifically writing one for a film. Some offer free advice (well, a FEW), and some offer paid advice or forms they say to use. Ultimately what we did was a culmination of weeks of research, interviews with some people who invest in other businesses or ventures, and lots and lots of reading. I am going to walk you through a “virtual” business plan, as ours is confidential, but it will contain all the key points you should have. To be clear, I am not saying you have to use this formula, or that it is guaranteed to work. I am simply saying this is what worked for us.

Make sure all the pages are numbered. Have your business plan in a simple binder with clear plastic covers on the outside and the clip-binder, preferably black, on the side. Above all else, SITE YOUR SOURCES! You’ll be detailing various numbers and stats in your business plan, let your potential investors know that these figures are real! Have your sources sited at the bottom of each page they’re used, not at the end of the business plan on a separate page. We used the following sites for some of our information: IMDB, boxofficemojo, the-numbers, and even Wikipedia.

Title/cover page. Keep it simple. Have the name of the film at the top, followed by the tagline, then your company’s name, your contact info and at the bottom make sure to put that “This document contains Confidential and Proprietary Information belonging exclusively to YOUR COMPANY NAME.”

Table of contents page. This should be self-explanatory. You make a list of what’s on every page and the corresponding page numbers so that your potential investors can easily find what they want to look at.

Synopsis page. This should be a detailed synopsis, but only one page long. It should cover every major character and what happens to them. This is tough to do, but essential, especially if your potential investor has not read the script.

Business proposal page. This is somewhat deceiving. At the top you should have the name of the film, copyright date, and the copyright owner’s contact info. Then you have your proposal. Include the Theme of the film, the Goal of the film, and your intended Audience. That’s it. No numbers yet, no money talk.

Marketing plan pages. The next several pages need to talk about your marketing plans for the film; in other words how you plan on recouping your investors’ money! This is a big deal, and is in my mind the MOST important part of the business plan.

On the first page you should have the following: Talk about what genre(s) the film fits in. What are your target customers/audience and what are their age ranges? What time of year is the best time to release this type of film (DON’T guess, do the research and know!!)? How will you advertise to get the word out about the film (be specific)? What sort of merchandise will you have available to people? What are your plans for distribution? Do you plan on doing self-distribution, or are you just looking to sell it to a distributor? Will you be putting the film into theaters? Will you be putting the film into any festivals? If so, which ones? Will you be putting the film out on DVD, Blu Ray, digital downloads etc.? What is your Projected Revenue over a 10-year period? What avenues will you pursue to try and ensure you make this projected amount (theatrical release, DVD, Netflix, Redbox, Hulu, iTunes etc.)? How fast do you plan on making the budget back (NOTE: in our research, 80% of films with a budget of $200k or less make their budget’s back in 2 years time)? What is the potential of the film? And finally, name the films (2 or 3) that you plan on comparing your project’s potential to on the next few pages. Best advice here: Comparisons are fine, but be real. Show winners AND losers. Be up front that they could absolutely lose everything they put into this. And do NOT use Paranormal Activity as one of your comparisons. That is, let's be honest, a once in a blue moon kind of occurrence, and is too unrealistic to be used as a valid comparison. There's a ton more to a solid business plan besides comparisons (which really only were 3 pages of our 26 page plan), so don't get too stuck on that.

On the second page of the marketing plan section you should have: Financial projection, which includes the project title, genre(s), budget amount, cast (actors and who they are playing), revenue comparisons for other films (note- this is different from your comparisons, and you should have 5 films that made profit and 5 that lost profit). Include their Opening weekend box office, domestic gross, worldwide gross and their budget. Show your additional release options (cable TV, Pay-Per-View, online digital distribution. Are there any state rebate programs your film will qualify for?

On page three of your marketing section you should have your first detailed comparison film breakdown. For ours, we chose Primer. Include domestic and international gross, distributor, release date. Genre, MPAA rating, runtime and production budget. Opening weekend gross along with it’s ranking that weekend, how many theaters it was put into, % of total gross, the most theaters it went into, the close date (the last date it was in theaters), and total number of days and weeks it was in release. What was the total box office release while it was in theaters? Were there video sales and how much were they? How many individual tickets were sold? What was the percentage of investment return for the investors?

On page four of your marketing section have your second detailed comparison film breakdown. We chose John Carpenter’s Halloween. For us, this was a great comparison because it had a similar budget range, was an indie film using some fairly fresh faces for talent, and had a small initial release. This breakdown should include the same as the above one.

Budget page. How you breakdown your budget is up to you, but we kept ours simple. A broad breakdown by category only, no detailed breakdown was included. We had 24 categories, including: Script & Rights, Producers, Director, and Cast for the Above The Line Total. Then Travel, Hotel & Lodging, Food, Camera, Lighting, Sound, Locations, Art Dept., Office Expenses, Petty Cash, Memory Cards & Hard Drives, Lab, Insurance, Editing, Shipping, Still Photos, and Contingency for the Production Total. Finally, we had Final Post Online, Final Post Mix, and Marketing for our Post Production Total. For each category we had a sub-category of some details (peoples names, labels like “kit, crew, expendables” etc.), cost per day, tax, and amount required from the budget to cover that category. So as an example:

Category Specifics Cost Tax Budget
Camera Kit, crew, expendables. $1200/Day Incl. $42,000

Plan Summary page. This is where you sum-up the marketing plan, talk about your goals with the film, detail what the investors will receive in exchange for their investment (points, credit in the film etc.), talk about the strengths of the script, and finish it off with the tagline. It is important to note that we did NOT mention anything about creative control, final cut or anything similar in the business plan at all. We only specified what the investors WOULD get. When the subject did come up about creative control, we did tell them that our company maintains complete creative control, and that they would not have any say in the final cut of the film. We went on to explain that we’ve seen too many films ruined because of “too many hands in the pie”, and that because everyone has different ideas of what a film should be, it’s impossible to have everyone getting a say. All the investors we met with absolutely not only understood this, but whole-heartedly agreed. As one of them put it, “I’m not a director or filmmaker. That’s your job. I just want to cut you a check and let you do what you do best.” Like music to my ears. Ultimately we got $400,000 from investors, and we gave up NO control of the film.

Business accomplishments page. This is more of a sub-table of contents page. Ours simply said: “Key Cast and Crew Resumes” and that’s it.

Key Cast page. Another sub-table of contents, simply listing the key casts names and their roles.

The next few pages you should have the key casts resumes. NOTE- Headshots should be put into a “Supplemental” binder that can be made available at the request of the potential investors.

Key Crew page. Another sub-table of contents, simply listing the key crew members names and their positions.

The next few pages you should have the key crews resumes.

And that’s it! Simple, right? I kid, I kid. I can tell you that this was among the most frustrating part of the process in securing our budget. Take your time, do your homework, and put together a business plan that not only impresses you, but your investors as well.
 
Writing A Budget (That’s Both Realistic & Allows Some Wiggle Room)

This is another one of those “there’s no right or wrong way to do it” things. Using the basic, broad budget that we made for the Business Plan as our base, we then started to really get detailed as to what each category contained. But I should probably start at the beginning, with how we even did the basic budget breakdown.

As I stated in the “Casting” section, I initially thought I could do the film on a budget of $100k. During the course of casting, I presented Chris Sias with a “Producer’s Package”, which included the script, my initial broad budget, a poster mock-up, a treatment and some thoughts on marketing I had at that point. I gave him this package with the hopes that he would agree to come on as one of my producer’s. I already had my wife (who is also my business partner) as a producer, but I knew we needed another. When I had done that first, $100k budget, I had thought I could get all my crew to work for food and points on the back-end, and using a big portion for sound (I wanted to wire the whole house for sound so I never had to deal with boom mic issues), I would have enough left to pay for the actors and get a couple 5D’s and a steadicam. Simple enough, right? I thought so. But then again, that was 10 months ago, and I was a little naive back then…

Chris read through the package, and called me up with a “yes”, and then said “You know this budget is way too small, right?” I asked him why, and he quickly began to explain how fast the cash will go, and to where. And he was right.

In order to do what I really wanted to do with this film, to make it as great as it played in my head, I was going to have to at least double my budget. So I did. I really sat down and priced everything I would need (or so I thought). From this I had an extremely tight $200k budget. The producer’s and I sat down and went over my new budget, and decided we should just try for a $300k budget, as it would give us a little wiggle room and, after all, what’s the difference at that point because getting $300k is just as likely as us getting $200k.

Now there’s an old rule about making a film budget that goes like this: If your budget is OVER $5 million then you can spend 80% of your budget on paying people (cast and crew) and 20% on production value. But if your budget is LESS than $5 million, you do the opposite, so 20% on paying cast and crew, and 80% on production value. The problem there is, I never liked rules. So on a $300k budget, with myself and my wife only getting paid a total of $12k for everything we were doing (producing, directing, script, DoP, editing, color grading etc.), we ended up paying our cast and crew a total of 50% of our budget. Our pay to everyone totaled $151k! Now to be fair, this included a massive sound budget of $69,500 so that my sound crew can do what I want to the house location (more on that later), but still we were/are WAY overpaying people, at least according to the old rule.

Once Canon and RED made their big announcements about the C300 and Scarlet (respectively) in November, I knew I had a big decision to make. Both cost about the same up front, and both are vastly superior to the 5D mark II in terms of what I can do with them as a cinematographer, but they both meant some major changes had to happen to the budget again. I did the research and figured out (again) exactly what I would need with each camera, and decided on the C300 as then I could get 2 cameras instead of just one Scarlet (which, after getting everything you really need costs as much as 2 C300’s!). I already have lots of nice Canon and Ziess ZE (Canon mount) glass, so it made more sense there too.

After redoing the budget again, it was once more seriously tight. Contingency money had been reduced to only $2000, which wasn’t much, and Marketing had gone from a respectable $45k down to $10k, which was a problem. Making a great film wouldn’t mean much if we couldn’t get it out for people to see. So it was back to the drawing board…

Now these various drafts of the budget were done over the course of weeks, not days or hours, so don’t think these changes happened overnight lol.

Making a truly good budget is tough, because there’s so many little things that add up. Like electricity and other utilities. You might not think about it, but if you’re renting a house to shoot for 2 months like we are, you have to budget in for heat, water, garbage and electricity. These are little things, but they add up to an additional $1200 or so on your budget. Food is a big one, because you’ll more than likely be shooting long days, and everyone needs to eat, have stuff to drink, snacks, fruit etc. There goes another $10,500. What about location fees? Permits? Do you have any helicopter shots you need? Suddenly you’re out another $20k. See what I mean? How many wardrobe changes are there? Do you need multiple versions of certain costumes? $3500. Art Department, HUGE on our shoot. After all, we have to fully decorate/furnish an entire house of an investment banker, which means a $500-750k home, which is big. Seriously, think about all the little things that people have in a home. It all adds up so quick, not to mention the big furniture. There goes another $35-40k. Are you travelling? We have a 4 day shoot in Puerto Rico for “The Unknown”, which adds another $10k onto the budget. Very quickly you can find yourself scratching your head going, “How am I going to shoot this thing?” and you realize WHY movies cost so much. Cause the big things are easy. It’s the little things that eat up the budget.

Also, for each Category, think about what, if any, accessories you’ll need. For example with the Canon C300’s, I know I want to have a mattebox and a shoulder mount kit, so we’re going with the Letus Master Cinema Series. There’s so many variables that it’s impossible for me to say “here’s what you need in your budget”, but the categories will essentially be the same (see the Writing A Business Plan section for details of the categories), and the basics never change.

A seriously important thing to have is contingency money though, because you never know what might come up! Once we locked in our final investor and had a budget of $400k, I once more redid the budget, and we now have $10k in contingency, which is still a bit small (ideally you want 10% in your contingency budget), but between myself and the producer’s we’re confident we’ve covered our bases. Plus we have our $45k back in Marketing, which is awesome!
 
I would like to add, in regards to your business plan post....for any of us who are seeking funding through non-profits or are considering forming a non-profit to secure funding through corporate giving, etc: Knuckles' outline pretty much covers what most of these institutions and/or corporations seem to require for documentation, as well. So, quite applicable. Good stuff.
 
My Way Or The Hollywood Way? (Part 1)

Today I’ve got some meetings, so this will probably be my only post.

Throughout the progress of “The Unknown” so far, there have been those colleagues and friends who have insisted I’m doing things “the wrong way.” So this will be the first of a few posts with this heading in which I try to show that just because the “dog and pony show” in L.A. has been doing things the same way for over 60 years doesn’t mean that you HAVE to do things that way to get results.

I have several friends in the business who have moved from here in MN out to Cali because they felt that in order to really get in the biz and actually make a movie they had to be in Hollywood. Now 25 years ago, I would have absolutely agreed with them, and probably would have made the move myself. But nowadays, you can literally live anywhere and make a film. It’s in no small part to both the internet and the rise in digital filmmaking. So the old argument no longer holds true. So what has become of my friends and colleagues in sunny Cali? Well, they are working as P.A.’s, Production Designer’s on smaller indie films, and doing a TINY bit of DoP work for a couple (seriously) low budget short films. You know the kind of shorts that look like your uncle shot them and go straight to the hell of YouTube? Yeah, that’s what they’re doing. One of them has managed to do a little work as a Production Designer on some commercials though, which is great, but not what he wants to be doing. All of them, every single one, have told me they could never get a film made out there because it costs so much, because nobody there is willing to work for less than their day rate, much less work on a project that’s missing a name actor. Now to be sure, I am only relating what they’ve told me, and I am definitely making a broad assumption here, but when you hear the same thing from several people, you start to believe it.

Example: One of my friends that I have worked with on several projects started writing a script back in 2010. It’s for a feature, and he decided to try and raise funds for it the “Hollywood” way. By that I mean he wrote about 20 pages of the script, and then started showing it to various producers and potential investors to try and get himself a $200k budget to shoot it. He contacted distributors, he managed to talk his way into meetings with some executives at two major studios, and even got invited to a few parties with some big time celebrities where he tried to convince them to attach themselves to his project. I should probably tell you now that this is a guy who has NEVER written a script by himself, never finished a single project of his own, and even refused to come back to MN and finish a nice short that many of us worked on for over 2 years because, and I quote, he looked at it as “Losing three thousand dollars because I wouldn’t be able to get any work out here then while I’m gone.” So he has no demo reel. Nothing to show anyone that he’s done something that would convince them he is not only capable, but worth their time and money in investing in. Again, this is a friend of mine, but to me, this makes no sense at all. When I asked him why he insists on doing it this way, he said “This is how it’s done out here. You wouldn’t understand.” He’s definitely right on the last part. Now fast forward two years, and he still has not even come close to finishing a first draft of his script, he has hired a friend on as a producer (someone out here in MN, for free, who has zero experience in raising funds for a film) and has tried to put the blame on them for him not getting his $200k budget. The whole time I was getting “The Unknown” ready to be presented to investors he said I was wasting my time, doing it wrong and that I should just start seeking funding or distribution using only the screenplay, because “that’s how it’s done.” Now I didn’t just hear that from him, but from multiple people who said that they’ve been a part of other projects and that is, in fact, the easiest way to get your financing. You take a script, or part of one, and start shopping it around, try and get a few name actors attached and hope for the best. In my mind this is moronic and should only work with established, well-known screenwriters, producers or directors. Thinking of things from a purely business standpoint tells me why would anyone who has the kind of money I need to finance my film want to just hand it over to someone who can’t PROVE to them that they can do what they say they’re going to? I would never give my friend $200k based on what he’s done, and I’m his friend! How can he expect someone else to?

So what did my friend say when I told him I got my film funded? He congratulated me, and then told me that while it’s nice that my dreams came true, his “just seem to crack and fall apart.” He wasn’t blaming me, but rather he was having the harsh realization that maybe his way wasn’t working. Maybe the “Hollywood” way of doing things isn’t always the best way, especially if nobody knows who you are.

Now I’ve never been the kind to tell people they’re “doing it wrong”, because in my experience there’s almost always another way to do something. And that’s my point with this post. Just because this worked for me to get my funding, don’t assume it will work for you or that it’s some fail-safe formula for getting financed. There’s simply no such thing. In the end, you have to do what feels right for YOU, for your project. The way I’ve done things so far is just the way that made the most sense to me: Write a solid script, with as many revisions as it takes until I was confident in it. Do as many casting sessions as it takes to make sure I’ve got the right talent. Hire the right crew and not just people I know and am either friends with or comfortable with (this was a big one, and in my opinion a trap that too many indie filmmakers fall into). Shoot a P.O.C. trailer that I could show to potential investors and try to instill an idea of what could be. Try using crowdfunding to get the word out about the film and garner some interest (and maybe, if I was lucky, get the film funded). Finally, take the time and make a really great business plan that I can use along with the trailer and all of our resumes to get the film funded. And it worked.

To be sure, it was incredibly hard work to get this far, and as I’ve said in prior posts, I spent almost two years refining the script before I felt it was ready to show a potential investor. Not to mention the five months of casting, almost three months of working on the P.O.C. trailer, the month long Indiegogo campaign, and then 2 months of meetings with potential investors. This definitely doesn’t happen overnight, but if you really want to be a filmmaker, and have a passion for what you do, then have the patience to see it through. Weather the storm. Do things how they make sense to you, and don’t worry about if it’s the “right” way or not.

You might just get to make your movie.
 
D'oh It really is hard to believe *filmmakers* try to get money from others when they can't provide proof they're capable of the job.

I know, but apparently it happens quite often out there. From what I've been told (and which explains a lot actually) is that people just write a first draft of something that they show a few friends and then try to sell it or sell the distribution rights to make it into a film. Craziness.
 
Finding And Meeting With Investors

This can be difficult and nerve-wracking, to say the least. I will say without any hesitation that finding investors is far more difficult than actually meeting with them.

For “The Unknown”, I knew fairly early on that this was not going to be a project I could self-finance. The film I saw in my head was going to cost some serious cash to pull off, even if I could convince my crew to work for practically nothing. I started researching into finding investors, as well as crowdfunding and angel investors. I’ll start off with angel investors.

Angel Investors: There are several sites out there that offer the ability to connect with potential angel investors. A simply Google search will turn up loads of options. Different sites have different criteria, some make you pay and some don’t. For myself, this seemed like a really tough way to go, for multiple reasons. To me the biggest reason was that I really didn’t like the idea of having someone invest in my film that I couldn’t personally meet with, shake his or her hand and say “thank you” to. It may seem silly, but I really think that if someone helps you make your dream come true, you should at the very least thank him or her for what they’ve done. After all, you wouldn’t be able to make it happen if it weren’t for them.

Crowdfunding: Now this I did do. I did a lot of research into the various sites, and all have their good and bad points. Ultimately I chose Indiegogo because they let you keep any monies you raise, which I felt would be great because no matter what it would put me that much closer to my goal of a $300k budget. I talked with my producers and we decided on a December campaign. The thought behind it was that it’s the giving season, and so people would be more willing to donate. We also decided to try and offer a “Special Thanks” credit in the film for as little as a $1 donation. We thought that would be a great deal and that people would really dig it. We researched perks for weeks, and decided on our levels. Now something you have to keep in mind with your perks is that they (usually) will cost you money. It’s my opinion that far too many campaigns have perks that outweigh the goal. After all, if I’m running a campaign and offering a perk of a full size 24”x36” poster, a DVD and a signed copy of the script for a $75 donation, I’m really not even breaking even there. At least not unless I plan on ordering TONS of posters to offset the cost. You have hidden costs that most people don’t think about: packaging, printing, DVD’s and their cases, as well as shipping. All these things can add up really quick, and pretty soon you’re trying to fund a project with a $50k goal but after all is said and done you might only have $5k left to make your film. Food for thought.

Our campaign was not a success in the sense of meeting our goal. My producer, Chris, said after the campaign ended that he felt we hit a wall with the “never going to make it” syndrome people get. Chris had ran a campaign for a congressional candidate a year earlier and said he repeatedly heard from people that they didn’t feel they should donate because it would be a waste of their money as the goal was so high they felt it was unreachable. This was something we heard more than once during our campaign. We also had a LOT of people say they might have donated if we had done a Kickstarter campaign instead of Indiegogo because if the campaign wasn’t a success they would at least get their money back. Now to be perfectly blunt, I feel this is a cop-out. The personal choice of whether or not to support someone’s project should have nothing to do with their financial goal, and everything to do with how you feel about the project. I have backed several projects and waived my perks because I believed in their project and wanted to try and make sure than my donation really counted. A person should also never donate more than they could afford to lose anyways, so the argument that they would get their money back is just not a valid one in my mind.

Running a campaign is tough, and requires a LOT of time. I’m the first to admit, I am not a marketing guy. I did my due diligence and sent over a thousand emails out to everyone I’ve ever had any correspondence with, and I posted on Facebook and Twitter like a madman, as well as posting on every forum I belong to (and a few I didn’t until then). My producer’s did the same, but ultimately it wasn’t enough. I don’t know what we could have done differently in terms of getting the word out. Like I said, I’m not a marketing guy. And while our Indiegogo campaign failed to reach it’s goal, what it did beautifully is to gain us lots and lots of attention, particularly from potential investors. In fact, one of the first people to “like” our P.O.C. trailer from the campaign ended up being our first investor. I definitely look at our crowdfunding campaign as a huge win because it was the direct reason we were able to ultimately achieve our budget. I should definitely add that before our first investor contacted me, there was definitely a point where the producer’s and myself were feeling down and stressed. We felt like maybe either it wasn’t going to happen or it wouldn’t happen for a long time. Even some of the cast and crew were asking if maybe we could make the film for $30k or less, just because they wanted to see the project happen one way or another. Little did we know some serious financial insanity was about to befall us…

Finding Investors: This (at least for us) came down to two things – who you know, and who saw the campaign. We talked to a lot of our industry friends, who introduced us to a few potential investors. Some had invested in films before, and some invested in other things (real estate etc.) This was prior to and during the campaign, and our business plan was not yet finished. I can say with no doubt that this is why these investor meetings ended without funding. We were repeatedly asked if we had a business plan, what it was etc. All the questions were essentially concerning the same thing – how would the investors recoup their monies? At this point we could try and assure them, and really our end plan didn’t change from what we told them, but there’s something about being able to see it in writing that really makes an impact on people. It’s one thing to say it, it’s another to have them be able to see it in writing. The one thing these early meetings really did well is to give us a real idea of what these potential investors were looking for. So once we began getting contacted by potential investors via the Indiegogo campaign, we had our business plan finished and ready to show them.

Now the first investor had seen the campaign, and afterwards had contacted one of our actors to find out more about the project and us before even contacting us. It turned out that this investor had funded another film that our actor had been in, and knew that if this actor was attached he (the investor) should pay attention. So one night I got a text from my actor that said this gentleman was interested in possibly investing, and could I send him the script right away? Of course I jumped at it, and sent the script immediately. I received an email two days later from the investor stating that he was very busy that week, but that he would get to it as soon as possible and get back to me when he was finished reading it.

And then I waited. And waited. I had found the investor on Facebook, had friended them, and was looking for any post that might indicate they had read the script. I was so anxious I could barely stand it. I had spoken to our actor about this investor, and he said that he really didn’t know him other than from the movie premier for his film where they had been introduced, but that he had funded several other projects in MN and was definitely someone who could invest a decent chunk into our film.

Finally one morning I checked my Facebook feed and there was a post the investor had made. It said “Just finished reading a great script. How good was it? So good that it kept me up until 6:40 a.m. reading it!” Now I couldn’t be certain that this was my script he was talking about, but man I hoped so. Almost a week more passed without word from him, and then I got a text about meeting up in a few days to talk. I was so excited! We met the investor at a small restaurant in Minneapolis. We showed up ready to rock, dressed in business casual clothes, briefcases in hand, loaded with our business plan and the script. On the way there we quizzed each other on possible questions he may have. We were ready. The meeting went smooth as silk, and first the investor talked about the script, and how he literally stayed up all night reading it. I was right; the post he had made was about our project! Now I knew that he was interested, so it was just a matter of figuring out the details.

In my research for the business plan, I learned that points on the back-end of a project are extremely valuable, and many times an investor could put in a million dollars and only get 4 points. I had talked with my producers about the fact that I wanted to make these investors feel like they had a REAL stake in the film, and to entice them as much as possible I came up with a far better deal for them: For every $12k that was invested the investor would get 1 point, for a total of 25 points for the full $300k budget. This is a massive potential profit margin for the investor, and my hope was that they would agree. And they did.

Once we had finished talking with the investor about the script, I showed him our business plan. He wasted no time in reading through it, asking pertinent questions as he did. He asked about what cameras we would use, how long after we got the funds until we could begin principle photography. He also said how much he loved the fact that we had included the Marketing costs in our budget. He said he had seen too many films he had funded (at least partially) that had ended up having a tough time getting wings because of little to no marketing budget, as it always seemed to be an afterthought, like the producers would just make the film and then try to get the money to market it.

I should add here that we also brought up the fact that no matter what amount was invested, we would not be giving any creative control to the investors. I strongly feel that once you start giving up your creative control, the film is no longer your vision, and rather becomes whatever multiple other people want. Investors and studio exec’s are NOT filmmakers (by and large). They are business people, not creative’s. I have personally seen projects that had great potential be butchered to hell because of too many people having a say in the final product. Ultimately the criticisms always come down on the director, who (whether right or wrong) is assumed to have been responsible for the vision and crafting of the film. Sometime’s this is justified (George Lucas and the Star Wars prequels) and sometime’s it’s not (Guillermo DelToro and Mimic). Now this was, of course, brought up and talked about with the utmost care and respect, and I will tell you that EVERY single investor had the same reply: “You’re absolutely right. You’re the filmmaker, I’m not.” So don’t feel like you have to give up your vision of the film to get it funded. After all, this is YOUR project, vision and dream.

That first meeting lasted less than 2 hours. At the end he said he was in, and was going to invest $24k. Inside we were so excited, but we played it calm and cool so we didn’t freak out in front of him lol. The investor asked if he could show the business plan to some colleagues of his as he felt he might know someone who would also like to invest. Of course we agreed. The meeting ended and we said we would get the paperwork drawn up and to him asap.

A few days passed and I got another text from the investor saying he would like to meet with us again, and at that meeting he said that the other investor couldn’t make it, but that the other investor had some question for us, and could he ask them for him? We agreed, and he asked his questions. The most important one he asked was regarding first rights to a sequel regarding investing in it. Essentially, the investor wanted to know if there were a sequel made, would they have the option (before anyone else) to invest in it? This was one question we were not prepared for lol. I thought about it for a moment. I hadn’t ever considered doing a sequel to the project, because I only focus on one project at a time, and generally think sequels suck. The ending of the film is written in such a way that a sequel could be conceivable, but I just had never thought that way about it. On the other hand, why would I have a problem if the investor wanted to invest in another project of mine, right? So I agreed and our meeting ended with the first investor saying he would be in touch.

Three weeks later I got another text saying it was time to meet. This meeting took less than 90 minutes, and by the end of it investor two was on board for $276k. It was actually kind of funny how it went, because for over an hour we talked about the industry but not specifically about our project. Finally the investor looked at me and said “Regarding the budget for The Unknown. You’ve got it.” I looked at him and immediately needed to verify what he meant. I said, “What exactly does that mean?” He said, “I’m in for the rest of it.” “The full $276 thousand?” “Yes.”

At this point I pretty much didn’t know what to say, and sat there pondering this for a moment before expressing my gratitude and starting to talk about when filming will begin. On the way home, Chris asked me one simple question: Why is this so easy? I asked him what he meant and he said that he thought it would take more work to secure $300k, and that all our meetings since the campaign had been wins. I thought about it and said that it wasn’t easy. After all, more than 2 years had been spent on the script, 5 months in casting, 3 working on the P.O.C. trailer, a month-long crowdfunding campaign and weeks and weeks of researching to make the business plan. That was far from easy. But what it did was make us prepared. We had done our homework, and had put together a total package that was truly designed to sell our project idea. That was the key. Everything had to be there; the script, cast, crew, trailer and the business plan. If we hadn’t done everything we had, I do not think we would have our budget right now.

Now back in December, I had gotten contacted by an investor in L.A. who had seen the campaign and said if we could raise 10% of our budget that they would get us the rest. However everything happened so fast with our first two actual investors that I had actually forgotten about the one from L.A.. Then about a week ago, I got an email from her asking where the project was at. I told her we had our budget and thanked her for her interest. She asked if I would like another $100k. I talked to my producers, and we decided that we could definitely use the money, but we needed to change the point-to-money invested ratio. We decided on 1 point for every $20k invested. I asked her (the investor) to call me, and after a 30-minute chat we agreed that she would invest the additional $100k into the film, as well as get a few known actors for some nice little cameos!

Yesterday I met with a colleague for lunch. This man is someone who I have worked with on some commercials over the past two years, and when he called to meet I thought he just wanted to hang out. Turns out he was interested in investing in the project as well. I couldn’t help but laugh, because in December our getting the project funded seemed so far off, and now I have multiple people wanting to invest in it. I know that it’s because we all put so much work into all the various aspects of the project so far, and so my single biggest piece of advice for those of you looking for funding is to put in the legwork and research BEFORE you try to sell your project idea to investors. Trust me, it’ll be worth the effort!
 
Creative Decisions (That Cost A Lot Of Money) Part 1

This will be another one of those post headings that there will be more than one of.

If you’ve read everything up to this point you’ll probably remember that I’ve mentioned the guys over at Seamlessound and that I want the house location wired for sound. I figure now is as good a time as any to really get into my thought process on that, and down the road I’ll talk about a few other big creative decisions that will end up costing a lot of money.

Wiring The House For Sound: This really came about from two things. First, I’ve worked on countless projects where either the boom gets in frame and ruins a shot (the bane of every DoP!) or trying to deal with the boom shadow. As both a DoP and a director, I have a ton on my mind during a shot, between the composition of the shot and the actor(s) performance(s). The last thing I want to try and focus on is whether or not there was a boom shadow. Secondly, the script. I conceived and wrote the script with the thought that roughly 85% of the film will be shot using steadicam. There is so much emotion in the script, and so few locations, that I knew when we were in the house (where most of the film takes place) I would want my actors to be able to move freely, room to room, if they felt that at that moment they should. Logistically this meant a couple things had to happen.

To start with, the whole house would need to be lit as organically as possible. This means lots of windows, and lots of lamps and/or overhead lights. Now the cameras we will be shooting with are the Canon C300’s, and they are phenomenal in low light, so I know we can pull this off. I recently was invited to a Canon event here in MN in which I got to play with a C300 and see some shorts on the big screen that were shot exclusively with it. The on-sheet specs may not impress you much, but that image and what it looks like blown up… Amazing! Now to be clear, we are using some Arri LED variable color-temp lights for certain shots that will be locked off, but for the most part we will be using practical lighting.

Next, because I want the actors to be able to move wherever the moment takes them, I knew we couldn’t use the normal boom setup. There’s simply no way with all the cables and everything that it could work, not to mention I tend to shoot LONG takes (12-16 pages), and if a take was blown because of boom shadow or it going in frame I would not be happy. So I talked with my sound team and told them what I wanted: The whole house wired for sound. Every room. Hidden mics. Lav’s can work for a lot too, but they had to be small and easily hidden. After some long talks what we decided on was a two-part method of attack. They would use part of their budget to wire the house how I wanted, and they would also use part of it to get a wireless boom for any close up’s or more standard setup’s. That way no matter what there’s no cable issues, and I can get the best sound possible for every shot.

How much of the budget is this method going to run me? $69,500. This is a huge portion of the budget, but the results will be worth every penny. Ultimately it really will help move the production along faster, as there needs to be fewer setups to work around cables, grips, lights and gaffers, so the benefits far outweigh the costs.
 
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