Mark's Pro Tip #7

Pro Tip #7 - Just get the picture made!!!

There were several times early in my career when I had the chance to get a movie into production, and due to my own obstinance, stubbornness, whatever you want to call it, the project stalled. Largely because my parameters for getting it made were too rigid.

As an example, I had developed and was packaging a horror/Western feature many years ago, and I was intent on doing it on a minimum $10 million budget. I had attached a very good director, name actors and other elements of value.

But raising the money is the hard part, and I quickly learned that others might not see the same value in the project that you do. When I was offered $750,000 to do it for the Sci-Fi Network, I balked. No way that was going to happen. I'd have to scrap most of the elements I attached! Well, it turns out the film never got made at all because I could only see it getting made one way.

This is not to say you should sacrifice your story's integrity or other key factors; there's no point in making the movie if you don't want that movie made. Heck, if you want to tell the story of Billy the Kid and your financier wants to do it in outer space, you might move on.

No, my advice here is to simply pick your battles. Stick to your guns on the things that truly matter, but be flexible, amiable and willing to compromise on areas that are not make-or-break. You'd be surprised how many different ways a good movie can be made, whether it's on a lower budget or with lesser name actors or with a different director or, yes, even in space. Be open to having the conversation to see if there is a happy medium between your vision and what other stakeholders want.

Because at the end of the day, you just want to get the picture made. It might not be 100% of your original vision, but at least it made it to the screen. Audiences, on the other hand, will never get to see the picture you didn't make.

Mark's Pro Tip #6

Pro Tip #6 - Treat every job like an interview for your next.

As a freelancer in the entertainment industry, we're always on the lookout for our next gig. Even when we're currently on a gig. That means every person who hires you may be in a position to hire you again. Or introduce you to someone else who can hire you. Or you may just happen to meet some random on set who's about to jump on a new project and can slide your name to the line producer. But will they?

Bottom line: go into every job with the mindset that it's a job interview for the next one, because it is. In a business where word of mouth is crucial, being a true pro that can be counted on and that people like to work with is essential.

How you handle yourself on set, especially when problems arise. How you speak to others above and below you. Whether you show up on time. Whether you go that extra mile. Whether you stay on budget. How much you bitch and complain. How prepared and knowledgeable you are in your area of expertise.

And make no mistake, you are being watched. Everyone in Hollywood whispers about you behind your back while smiling to your face. The question is whether they're whispering nice things or not. So do yourself a favor: show up to every gig prepared to give your best. Your next gig may just depend on it.

Mark's Pro Tip #5

 Pro Tip #5 - Learn something new every day.

I have been toiling away in the entertainment industry for 25 years, and it never ceases to amaze me how much there is to learn. Not only are there so many facets to the filmmaking process that you can educate yourself on, from development to production to post to marketing and distribution, but the industry is constantly evolving and changing. I literally learn something that I didn't know every day I work.

Take rapidly changing camera tech. Whole conventions are dedicated to annual changes in the field. How about the world of user-generated content. AI or XR techniques. Reasons for the migration of films overseas. The use of new platforms for fundraising. The latest hot actor on the scene that no one ever heard of until last week. Newly updated budgeting and screenwriting programs. Previously unknown films just waiting to be discovered and studied. Shifts in marketplace economics. The list goes on and on.

Listen, read, open your mind to what's new, and you'll find yourself becoming a more well-versed and versatile filmmaker. The more knowledge you have to share in your area of expertise, whether a producer, AD, DP, editor, writer, makeup artist, sound mixer, you name it, the more valuable you become to others.

As a collaborative medium, filmmaking offers all of us the chance to learn something new each and every day. So embrace that gift. The day you stop learning because you know everything, well, that's the day you should go do something else.

Mark's Pro Tip #4

 Pro Tip #4: The value of a script is not what you think!

I get a lot of novice writers coming to me for story and budgeting services, and a common refrain I hear is that they've written the next Citizen Kane. Not only is this NEVER the case, but the people who say this with the most gusto often have the WORST material. It's not that they're trying to write something bad. No artist sets out to craft a piece of shit. It's simply that they're energized from having watched too many movies, but haven't received the sort of training in the craft that allows them to execute at a professional level (or even know what professional screenwriting looks like). So here's a little secret for everyone who thinks they've written The Shawshank Redemption:

You script is literally worth the paper it's printed on.

Yes, seriously. If it costs you $4.50 to print out your script, then that's what it's currently worth. Not until someone other than you has decided they want to buy it, finance it, make it, etc., does the value of that script increase. Don't fall into the trap of thinking your script is special. There's 100,000 spec scripts floating around Hollywood on any given day, and nearly everyone has an overly high estimation of theirs.

If you really want to boost the value of your script, there are a few steps you can take that will give you a better chance: 1) Learn the craft! Study it. Writing is hard. Just typing out your idea in Final Draft doesn't make you a screenwriter. Master classes and extension courses are available, so you don't need a four-year degree. Just a dose of humility. 2) Execute! Read scripts that have sold and emulate that style and quality. 3) Solicit feedback from people not related to you and who have no reason to be nice to you. Professional coverage services, writer groups and screenplay competitions that provide feedback are a few great options. 4) Rewrite!!! And if you can't get it over the line, hire someone to rewrite it.

This industry is all about getting kicked in the teeth and then saying, "Thank you, sir. May I have another?" This is the most likely path you'll face in getting your script produced. Understanding that your script is not as great as you think and that you'll face a lot of rejection is key to preparing yourself for the fight ahead. But if you stick with it and put in the work, you may just come out the other side with a script that is worth something someday.

Mark's Pro Tip #3

Pro Tip #3 - Not all money is good money.

"Just get the movie made," I often say to clients, colleagues, mentees and friends. Getting your movie made is paramount. That sometimes entails killing your darlings or making sacrifices you wouldn't otherwise make. It also means sometimes taking less money or money with strings attached. However, it's imperative that you're able to determine whether money is "good" money or "bad" money, as the last thing you want to do is end up in a legal situation or worse. Here are a few ways to determine whether money is "good" (worth taking) or "bad" (not worth taking):

- Are the recoupment terms overly onerous? In other words, might you be unable to meet the obligations the investor is asking for, even under the rosiest scenario?

- Does acceptance of the money put your other investors in a bad place or, worse yet, cause them to drop out because it now makes their position untenable?

- Does the investor seem to have unrealistic expectations of what you can truly do?

- Is the investor asking you to personally guarantee return of the money at some future date?

- Are there strings attached to the money that otherwise put you, your team, your other investors or any others working on the project in a precarious position legally, financially or reputationally?

- Does the investor demand he retain control of the funds and all key decision-making during the production process?

- Is the investor refusing to work with legitimate organizations like major banks where funds can be verified and escrowed or provide other reliable methods of verification?

If you answered "no" to these questions, the money may very well be good to go. If you answered "yes" to these questions, it's probably not. To know for sure, the best bet is to consult legal counsel and any knowledgeable stakeholders that you trust.

At the end of the day, if you need to turn down some bad money, just remember that that funding source is not the only game in town and that there are plenty of good money sources out there to fund your movie. You just need to go find them.

Mark's Pro Tip #2

Pro Tip #2 - Raising money for films is hard no matter what.

Whether you're raising $100K or $10M, it's all relative and it's always difficult. A lot of young filmmakers make the mistake of thinking it's easier to raise money if they ask for a lesser amount. While it may be true that more people can afford to give $100K than $10M, getting those people to part with their money is just as challenging as getting it from richer people. You need to convince someone why they should give you their money. In fact, if the investor is savvy, sometimes it's better to ask for more money than less. A few reasons for this.

First, it sets the bar and gives you room to negotiate. How do you know they won't give you $1M unless you ask?

Second, an investor will want justification for why you're asking for that amount. If you say you can make a $1M film for $100K, you better be able to back it up with a budget that shows exactly how you're going to pull it off. Chances are you'll have to sacrifice a lot of quality to do it if you can do it at all. If, on the other hand, you're budget shows how you can confidently deliver that film for $1M and that's what you're asking for, it's going to give the investor confidence.

Third, a higher ask from the investor can be justified by the cost of more valuable elements like star actors or P&A funds that will help the film make a return on investment. A $100K film with no names in it has less of a chance of ever recouping than a $10M film with several names.

So when asking for money, ask for what you need and be prepared to back it up with a legitimate budget.

(Side note: This doesn't mean one investor has to give you the entire budget. If you need $1M to properly make your film, you may ask an investor to give you $100K with the caveat that you're asking 10 different investors for that same amount and will only be able to greenlight once all 10 are in place.)

Mark's Pro Tip #1

 As a change of course from previous posts, I thought I might start sharing a producer "pro tip" for aspiring young filmmakers every time I write on this blog. Something useful and practical. A piece of advice I might give if I was teaching a college course or mentoring someone in the PGA. So with that said, here goes nothing...

Pro Tip #1

Make the kind of content you would want to go see. Too many producers worry about "what's hot" or "what's now" or they try to chase distributors' fancies. The problem is that what's in right now might not be in a year or two from now when you're finally done your film and are ready to release it. Instead, focus on telling stories you would pay to see. The truth is that every genre and style has some audience out there for it. Obviously, some markets are more limited than others, and such realities may constrain things like overall budget, cast, marketing and the distribution strategy, but that doesn't change the fact that you should pursue a course that drives your passion and leaves you fulfilled. Because that passion and care and enthusiasm will show up on the screen just like the lack of it will. In this respect, you go into the endeavor as both artist and audience member, allowing you to do justice to both sides.