Dear Indie Film Lovers,

I thought I might be a bit overdue for an update on my filmmaking adventures, so here is the latest goings-on in my crazy corner of the world:

- My feature film "Last Night on Earth" premiered in Beverly Hills at the end of May and was released in June to theaters across 50 US cities. It has now just arrived on home entertainment platforms, including Apple TV+, Fandango at Home, Google Play, Amazon Prime Video and Youtube Premium. I'm very proud of this one -- especially what we were able to do with the budget we had. You can see the official trailer here: https://www.youtube.com/watch?v=rB_6ExXDZGs

- My Oklahoma-based feature "Will to Win" nears ever closer to production as we continue our capital raise. We have attached Sean Astin and Patrick Warburton to key roles, and have started early talks with Amber Midthunder to play the lead. While we're considering Vancouver, Manitoba and other areas to shoot the film in order to maximize our dollar, our top choice is still Oklahoma since the state is so central to the story, the world and the characters, especially Will Rogers. But because this is a baseball movie, if we don't go into production by September, we'll likely have to wait until next spring. The film will be directed by Sean McNamara, who most recently did "Reagan."

- Speaking of Oklahoma, I have separately been assisting Oktoberfest Tulsa as they seek a tax credit for their upcoming documentary on the event. Named one of the five best Oktoberfests in the US, the film will showcase the origins of the event and the impact it has had on the local area.

- My New Mexico-based feature "American Saviors," with the talented Jon Keeyes directing, has attracted strong interest from cast, including Anthony Hopkins, Luis Guzman and Michael Ironside. The focus now in order to complete financing and get a greenlight is to cast the two leads. If we get some bankable stars in those roles, this one could move very fast.

- I just got hired by a longtime client, Kugga Entertainment, to re-purpose a web series I did for them several years back called "The Offer" into mobile webisodes. This is a new form of content distribution pioneered by companies like ReelShort where you pay for small bite-sized episodes that are anywhere from one to three minutes. The goal is to have these new webisodes cut and ready for wide dissemination by the end of August.

- I also just locked a distro deal with ShortsTV for Kugga's short film "Stiffed," which will start airing on the platform soon.

- I recently completed building a website for my client, Fifty CAL Films, which you can see here: https://www.fiftycalfilms.com/. We have two great projects that we recently developed, both thrillers. The first one, "Icon," about the wife of a country music star who is suspected of killing him after he goes missing, has attached prolific director Brittany Underwood, with several potential production partners already considering the material for production. So fingers crossed there. The second project, "Follow Us," is about a fake kidnapping of two social media stars that gets wildly out of control. I'm just starting my search for a director on this one.

- I continue to write articles for numerous publications, with the goal of sharing my expertise so that others can apply it and find success in their quests. Some of my recent pieces include "Top 7 Things a Producer Wants From Your Screenplay" on Funds for Writers, "Everything You Ever Wanted to Know About Line Producing" on Medium, and "7 Reasons Why Commercial Production Accounting Needs a Revamp" on the RollCredits blog. Later this month, Funds for Writers will publish another piece of mine: "What Book Authors Should Know About Adapting Their Material for the Screen."

- A script I developed and helped ghostwrite called "The Odd Son" has been racking up laurels -- most recently receiving quarterfinalist status in the LA International Screenplay Awards and PAGE Awards -- so it will be exciting to see how far it advances in these two.

While I have various other projects in different stages of development, these are some of my top focuses right now. Hopefully, I 'll have some good news to share in the upcoming months as I progress. Thanks always for your support.

Mark

12 THINGS I WANT TO DO IN HOLLYWOOD BEFORE I DIE (OR RETIRE)

The other day, I was watching an episode of the new Netflix original "Baby Reindeer," and the main character said something I thought was really profound. He said something to the effect of, "I used to think following my dreams would bring me happiness, but lately, it almost feels like a choice between the two." That hit me because it really describes where I'm at with my life.

So I started thinking, as I follow my dreams in Hollywood, what are some things I'd really like to do before I call it quits (one way or another)? What are some professional accomplishments that would truly make me happy? I came up with a list of 12. So here goes...

1) Produce a sequel to one of my films because the first one was so successful, someone offered me a butt-ton of money to keep going.

2) Get nominated for a major award, something that's telecast, showing that I have finally achieved some semblance of recognition by my peers, and then have the balls not to show up because I'm over the self-congratulatory poppy-cock we constantly see from awards shows.

3) Work with Bill Murray, Kevin Costner, Sandra Bullock or anyone from the cast of Suits.

4) Get over my fear of spectacular failure.

5) Have someone at Netflix with a VP title or higher actually take my call.

6) Pull up to a lunch meeting at Musso & Frank, Crustacean or Spago in a brand new Ferrari I just paid cash for.

7) Produce a film in a foreign country (Canada doesn't count).

8) Find a screenplay so powerful, so moving, so utterly creative, original and well-written, that no one in their right mind would have the nerve to pass on it.

9) Take a film to Sundance.

10) Produce something -- anything -- for two of my favorite directors (and friends), Jon Keeyes and Sean McNamara.

11) Earn net profits.

12) Work on a film that not only doesn't raise my blood pressure, but is such an absolute joy to be a part of, that every other memory of my professional life will be measured against that one.

COURAGE AND DIVERSITY IN HOLLYWOOD

Dear Hollywood,

This is an open letter to industry friends and colleagues.

We often pat ourselves on the back for having the courage to tell stories that are bold, different and focus on diversity. The idea is that somehow what makes us different will unify us, as if unification was ever the goal. We live in a self-congratulatory bubble that doesn't often align with the rest of the country, but hey, at least we dare to tell stories that others won't tell!

But are we really that courageous? Or are we actually continuing to tell the same types of stories over and over again with the same themes and messages -- the very ones that our overlords in Hollywood have pre-approved for audience consumption? The very ones that continue to fracture audiences along ideological lines? Are we really free to share our deeply held values and beliefs, or might doing so get us cancelled if they don't align with prevailing orthodoxy? (I don't know. Ask James Woods.)

I have always believed that true diversity is the diversity of thought and ideas rather than immutable characteristics that tell you absolutely nothing about a person other than their chromosomal makeup or melanin levels. (If that gives you an idea what side of the political spectrum I'm on, so be it.) But I don't believe any one ideology has the cornerstone on great ideas.

That said, this is my clarion call for true diversity in filmmaking -- for the sharing of all ideas through film and television, even if our betters in the upper echelons of the Hollywood hierarchy don't approve. That might mean pushing to produce content through more independent means, and it may also mean getting cancelled by those who claim to represent democracy while simultaneously trying to blacklist those who don't agree with their point of view.

True courage in filmmaking will come when filmmakers start producing and disseminating content that doesn't align with prevailing political and cultural doctrines. That means making statements based on high moral truths and common sense values, something sorely lacking in our society today. True courage in filmmaking is not an echo chamber for the Hollywood elites, but sharing ideas they disagree with when you know those ideas are worthy, even if it means being shunned by those elites.

This is my plea for true courage and diversity in Hollywood, one I'm taking on myself, starting with this very
letter.

Mark Heidelberger

THE CHICKEN & THE EGG

Many filmmakers have struggled with the conundrum of attaching star actors who bring financial value to their pictures when they don't have any money to offer. Financiers have been known to say, "Hey, if you get that actor, I'll put up the money." And then most of us reply, "Why don't you put up the money then so I can get that actor?" Excuses abound, many of them feeble, but the honest reason is that most of these alleged financiers are full of shit. They either don't have the money or have no real intention of giving it to you.

So here we are, the old chicken and egg scenario. How do I get the money without the cast, and how do I get the cast without the money? A quandary indeed. But I think I have an answer as I navigate this same minefield that all indie producers navigate. And the answer is... Illusion. Both sides need to believe the other side is in play. What do I mean by that?

Well, on the one hand, you need a legitimate investor, so that requires some vetting. They may not be ready to part with their money now, but you have to be certain they will if you get that elusive star. If they're not willing to put the money in escrow, at least have them sign an LOI with their intention. Something, anything in writing is better than a handshake.

Simultaneously, you need to make offers to those star actors for specific work dates and you have to make the agents believe those are offers are pay-or-play (meaning the actor gets paid whether the movie gets made or not). If the offer amount is high enough, you'll often get a call from the agent wanting to verify certain things -- first and foremost, is the film fully funded?

But that's not really what they want to know. What they really want to know is... Is my actor going to get paid? They could give a shit if your movie gets made. They just want to make money. So your answer may very well be, "No, it's not fully funded. But this offer is pay-or-play and your actor will get paid whether it gets made or not."

Once you have an email from the agent stating an agreement to the key terms of the actor's deal, it's time to have your financier step up to the plate. No more excuses. You delivered on your part, and now the money needs to go into escrow. See, agents want to make sure you're not out raising money on the actor's name. The reason is that if enough producers are doing that and can't raise the money, it starts to devalue the actor in the eyes of the industry. ("What?! They can't get financing with him attached?!")

I'm playing this scenario out right now with two different features that are temporarily slated for production later this year. The in-roads I've made have been fantastic, with serious A-listers interested or in talks for key roles, but whether the strategy works out is a chapter yet to be written.

Of course there are other factors in closing a deal with a star, like script approval, director approval, compensation and the like, but I find that the risk of having to back out of a deal is likely worth the upside of pulling off the illusion, especially in an industry that has no problem trying to fool you with illusions at every turn. All of Hollywood is built on illusions, so you're just using an old trick from the same playbook. While this may sound like a cynical view, it's also a practical one that cracks the chicken and egg conundrum wide open.

TWO NEW ARTICLES

Happy 2024! I hope the first month of the year has been as productive for you all as it has been for me. Today, I'd like to share links to two articles I wrote that were published in WritersWeekly recently:

"10 Screenplay Competitions That Are Worth Your Money"

https://writersweekly.com/marketing-secrets/10-screenplay-competitions-that-are-worth-your-money-by-mark-heidelberger

"The Impact of AI on Screenwriting in Hollywood"

https://writersweekly.com/this-weeks-article/the-impact-of-ai-on-screenwriting-in-hollywood-by-mark-heidelberger

The first is to help screenwriters navigate the competition circuit by suggesting contests that can provide a real return on the entry fee if the script does well. The second is me pontificating on the proliferation of AI technology in Hollywood, addressing in particular issues that were at the heart of last summer's WGA strike. Hopefully you'll find these articles enlightening.

Ciao for now!

                     10 THINGS I'M GRATEFUL FOR THIS HOLIDAY SEASON

As we head into the holidays, it got me thinking -- as a Hollywood denizen and lover of all things Christmas -- what I'm truly grateful for. Here's my top 10 list for 2023...

1) That I still say "Merry Christmas" and haven't been cancelled by the PC police.

2) My clients who continue to find value in my opinions, knowledge and abilities, even if they're often paying me to tell them how much I disagree with them.

3) No-shell chili roasted pistachios.

4) Netflix for helping me find "Suits" four years after it finished it's run. (Harvey Specter, you're my hero.)

5) My wife for all the nonsense she puts up with, including (but not limited to) pulling the bed covers off her in the morning when she's already cold, beating up her Boo slippers, and telling her a food item is not spicy when it is and then watching her go into a full bore panic after she eats it.

6) Passing my first colonoscopy exam with flying colors, even if the anesthesia ran me two bills.

7) The Philadelphia Eagles for giving me yet another season where we might almost win a Super Bowl.

8) The Good Lord for taking my ailing father to a better place and giving my mother the strength to start a new chapter of her life without him.

9) Stock market dividends.

10) Cinephiles who shell out their hard-earned money to watch the content I create, and moreover, reach out to me with kind words about how inspired they now are to create their own content.

Thanks for reading. See you in the new year! Merry Christmas! :)

Today, I want to share some passing thoughts about the strikes that have hammered our industry this year. Not all of these ideas are going to be the most popular, but they've been weighing on me, and I feel they need to be said. So this might be as much for me to vent as it is for you to read.

- Yes, streaming has significantly changed our industry, and writers and actors deserve a reasonable share of the revenues based on their creative contributions. But blaming all AMPTP companies for obscuring the data that allows for successful decision-making and project greenlighting is unfair considering most studios and networks have been very open throughout their existence about releasing box office figures, program ratings, and other key metrics. In other words, pure streamers like Netflix bare most of the responsibility for obscuring transparency.

- There's something laughable about multi-millionaire actors calling multi-millionaire studio heads "greedy." Just like stars, top execs (like Bob Iger, for instance) are paid enormous sums because of the money they are able to bring in -- their leadership leads to billions of dollars in returns for shareholders, making them worth their high salaries.

- AI is a legitimate issue in the entertainment industry, but overhyped concerns about a Terminator-style coup that will destroy humanity is a page out of Hollywood's fantasy playbook. AI will have its uses if we reign it in and use common sense in its applications. It should be a resource to help humanity do things better, not a replacement for what we already do. Creative work has heart and soul and intangibles like emotional intelligence that the best AI just can't replicate (yet). Plus, courts have already ruled AI can't own intellectual copyright, so the original creator of the source material the AI is using to generate new work is still considered the author for legal purposes, as it should be. AI is not going away, so let's figure out how to use it to our advantage.

- SAG is crying that they need an 11% increase in wages to keep pace with raging inflation. Ironic though how such a rabid "progressive" organization as SAG admits no responsibility for helping create the wretched economy we're all suffering through now by their support of left-wing policies (like printing more money to fund endless spending bills) and their endorsement of Democratic politicians like Joe Biden and Chuck Schumer who have caused the inflation we're experiencing in the first place.

- Actors and writers need to make a living wage. But mandating productions hire a certain number of actors or writers for a certain number of weeks is Marxian at its core, playing on the idea that the studios are greedy capitalists who are oppressing the "working man" unless they acquiesce to untenable union demands for minimum guarantees. Of course this is nonsense. Acting and writing are skills, and like any job, only the most skilled will be hired. If too many actors or writers can't find work, perhaps it's because there are TOO MANY actors and writers. Just wanting to be an actor or writer doesn't mean others have to hire you. Studios will hire people for roles based on their needs -- which projects they want to greenlight based on things like audience and budget, and what the staffing needs of those projects are.

- It's easy for multi-millionaire actresses to post videos telling the membership to "stay strong" and "don't give in to the studios" and "keep marching" on those picket lines. Why? Because one of their residual checks is more than most of their colleagues will make in a year. And whether scale rates go up 5% or 11% won't affect a $10-million-per-picture star one iota. It's easy to virtue signal when you have no real skin in the game. But it sure makes you look like a "good guy."

- Strikes certainly have their place. But the fact that the majority of outspoken individuals, publications and organizations have demonized the same studios they count on for their business while heralding the supposedly arduous plight of the unions shows a lack of understanding of both sides of the issue and belies the notion that such people have ever run their own business before, had to make a payroll or had to show their investors a solid ROI.

- The industry is going to face some significant changes as a result of this strike, from how it measures and reports the success of streaming programs to the further consolidation of studios and platforms to the number of people a production will hire (paying significantly higher wages to writers means less writers will get hired). One thing we can all count on, though, is that the end of the strikes don't simply signal that everything has been figured out, but rather that many more changes are coming. And soon. 

MH