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Jason Tomaric

Film Commissions Are Your Friends

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When a production company is looking for a city in which to shoot, there are several factors to consider. Permits, local laws regarding film production, tax incentives, and coordination between police, fire, and other city departments will affect the budget and shooting schedule. Because the production company may not be aware of the local regulations and procedures, each state has set up a film commission to work with the production company.
In addition to state film commissions, large cities may have their own. Film commissions serve to provide the following services to filmmakers:

Production Manual

Film commissions usually produce a yearly directory of all the film production personnel, equipment rental houses, casting agencies, hotels, travel accommodations, and postproduction services in the area. This directory is usually free and is a tremendous resource. Get one.

Locations

Film commissions often maintain a database of thousands of photographs of locations available in the region and can assist you in finding and securing locations. Locations in high-production cities may be broken up into those that are available for free or for a slight fee and those with larger rental costs for bigger budget productions. When shooting in another state, that state’s film commission may mail location photos to the location manager to assist with finding locations.
When you find a photo of a location, always contact the film commission to ensure the location still exists and that the photo is accurate. Locations can change all the time and the film commission may not have updated their online photo database.
Conversely, if you don’t see a location in the photo database, call the film commission. They may know of a location and can usually send out a scout to take photos for you.

Coordination with City Services

Although film commissions do not generally issue permits, they can work with the city to help secure permits, coordinate police and fire officials, shut down streets, or perform any other service needed to ensure a smooth production. Without a film commission, your would need to apply for each of these services separately and could encounter needless delays.
If you encounter problems with any government agency, always contact the film commission first.  It’s in their best interest to ensure you have a positive experience in both pre-production and production.

Coordination with Local Residents and Businesses

Film commissions will help the you work with local businesses and residents, especially if production activity interferes with traffic or access to stores and businesses. Film commissions can also help deal with local complaints and concerns over the production.
Film commissions are responsible for increasing film business in their state by promoting and marketing their state’s resources to film producers. Tax breaks, state rebate programs, free permits, and other incentives help cities attract productions that could bring in millions of dollars of revenue to businesses, restaurants, and hotel, not to mention the fame a city receives from being the setting for a big Hollywood film.
Film commissions are also sensitive to independent filmmakers whose projects may not carry the financial backing of a Hollywood blockbuster. Independent filmmakers who are successful may just want to come back when they are Hollywood moguls, so film commissions see a low- to no-budget independent film as a possible investment in future business.
Contact your local film commission to arrange details for your next production. Remember, they are a resource… use them.
Want to learn more about working on location?  Join FilmSkills today to unlock lessons about permits, scouting locations, working with location owners, and much more.

All New Film Marketing Classes

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We are excited to announce the all new FilmSkills Film Marketing Course. We’ve assembled an all-star group of studio executives and marketing professionals to help you craft a powerful and effective marketing campaign for your movie.

You’ve made your cinematic masterpiece, now what? One of the most secretive and difficult processes of filmmaking is selling your movie to distributors.  When you’re at the negotiating table, of all the people at the table – sales agents, distributors, agents, and managers – you are the least knowledgeable person there, and they know it.

The FilmSkills Distribution Course takes you behind closed doors to teach you how the sales end of the industry works.  We take you to the American Film Market and the Sundance Film Festival to see how deals are struck.  Learn from the VP of Distribution of Lucas Film how to navigate the sometimes-tricky waters of domestic and foreign distribution. Learn how to market your movie at a film festival and ultimately get the best deal possible.

You will learn from Hollywood’s top producers and distributors as they walk you into the heart of the Hollywood sales machine to arm you with the knowledge to be the smartest person sitting at the negotiating table.

In this series, you will learn from:

  • Jeff Ulin – Vice President of LucasFilm – Jeff managed and oversaw the worldwide marketing campaign for the Star Wars movies
  • Kyle Bonnici – Director Paramount Pictures Worldwide Marketing
  • Jason J. Tomaric – Emmy-winning director, producer of several internationally distributed movies
  • Alexa Amin – VP of Sony Pictures Animation
  • Patrick Falvey – Los Angeles based marketing producer
  • Lloyd Kaufman – President of Troma Pictures, Chairman of the Independent Film and Television Alliance
  • Kim Edelman – Founder, Fox Movie Channel’s short film program
  • Ricky Margolis – Investor and Vice President of Future Films USA
  • Kirk Hawkins – Reporter, KTLA, Los Angeles
Learn More about this Course

Screenwriting Master Class

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Learn the complete, step-by-step process of writing a marketable Hollywood screenplay from successful, working writers.

 

Learn to write a script Hollywood will want to produce

Every great movie is made from a great script. It doesn’t matter how big the budget gets, how authentic the actors perform, or how magnificent the visual effects appear unless the screenplay is engaging, dynamic, and believable. Films with high production values have been known to flop because the scripts couldn’t handle the weight of their own plots, structures or even main characters. Rarely has a bad script been made into a good movie. Writing a script is a craft that takes time to learn and a tremendous amount of discipline, and it also requires understanding story structure, psychology, human dynamics, and pacing.

In the FilmSkills Screenwriting Course, you will learn the step-by-step process of writing a script from top Hollywood writers.  From the very beginning stages of developing a marketable idea, creating dynamic characters, understanding story structure, and finally learning how to market your script. You will gain all the tools you need to write a professional Hollywood screenplay.

FilmSkills takes a real world approach to screenwriting by blending the art with the business.  A great script does no good if it’s sitting on your desk, so we help you write a script producers will want to make.

I’ve read so many screenwriting books, and nothing comes close to the depth and quality of the FilmSkills Screenwriting Course.     – Bill R. 

Lessons in the Screenwriting master Class

Developing the Idea

Strong ideas are the basis of a compelling story, if they are fleshed out the right way and appeal to a mass audience.  In this module, we’ll show you where you can look for creative, original ideas and how to determine their marketability with both studios and producers.

Story Structure

Stories have been told a particular way throughout human history, and movies are no different. Both the audience and filmmakers have agreed upon an unspoken structure for how the plot points in a movie are revealed.  In this module, we’re not only going to expose this underlying structure, but teach you how to incorporate it into your production.

The Three Act Structure

In this module, we’ll show you how to use the three act structure to properly pace your story, what should occur in each act, the length of each act, what happens at the beginning, middle and end of each act, and how to apply these techniques to your story.

A-Story and Subplots

If you were to describe a movie in a few sentences, you would probably give me a great summary of the main plot of the story- “Raiders of the Lost Arc is about an archaeologist who goes in search of the Arc of the Covenant.”  Or “Twilight” is about girl torn between two men – a vampire and a werewolf.” In both of these examples, you would be correct – but what you told me was what is part of what’s called the “A” plot, or the main storyline of the movie.  Movies can also include several smaller stories called subplots, which help reveal character, push the story forward and ultimately support the A-plot. In this module, we’re going to look at how to effectively write both the A-plot and the subplots.

Story Pacing

A good screenplay takes the audience on an emotional roller coaster, and one of the challenges facing each writer is how to keep the audience engaged through each and every minute of the story. In this module, learn literary techniques for maintaining strong pacing – especially through the second act.

The Protagonist

As you’re writing your screenplay, the most important character to write is the protagonist. But you have several choices – is he also the main character? Does the protagonist change or remain steadfast? How do you write a character the audience will care about?  How can flaws help the protagonist solve the story problem?
 
Knowing the answers to these question will help you craft a compelling character, so in this module, we’re going to explore techniques for writing a strong, multi-dimensional protagonist.

The Antagonist

The antagonist has been classically referred to as the bad guy, the villain, or the adversary.  But more properly defined, he, she or it is the literary opposite of the protagonist – the character who opposes the goals of the protagonist. In this module, we’re going to explore techniques for writing a strong antagonist, how to make him, her or it a real, multidimensional character.

Conflict Types

Conflict in a story is everything – it defines the very purpose of the protagonist. We can divide the types of conflict into one of several categories – each category helping to define the antagonist’s role in the story.  They are man vs. man, man vs. self, man vs. society, man vs. nature and man vs. the supernatural.  So in this module, we’re going to explore these various types of conflict and how you can use them to craft a compelling antagonist.

Supporting Characters

A movie is populated with dozens of other characters – many of whom have an influence on the protagonist and the antagonist.  These supporting characters either help or hinder, compliment or compete with our protagonist and antagonist. They add vibrancy and excitement to the story, all while serving as a valuable literary tool for you as you write the screenplay.  In this module, we’re going to explore the function of supporting characters.

Character Archetypes

All characters can be broken down into eight different archetypes – now these are the basic ingredients of creating a character, so of course you can mix and match them to create more complex, unique characters.  But every supporting character fulfills one of more of these roles.  The eight archetypes are the protagonist and the antagonist, Reason, Emotion, The Sidekick, The Skeptic, the Guardian and the Contagonist. So, in this module, we’re going to explore the six archetypes that make up supporting characters.

Personality and Backstory

The act of writing is much more than simply creating characters –  it’s about writing real people with real fears, ambitions, strengths and weaknesses.  But although you need to be able to create real, believable people, every choice you make when creating them needs to support the story. Who they are helps them confront the plot, learn more about themselves and ultimately succeed or fail. Their background gives them the tools and experienced they need to confront the conflict, and most importantly, their tragic flaw gives their story a personal arc. So, in this module, we’re going to discuss how to create personality and backstory.

Dialogue and Subtext

One of producers’ biggest criticisms of a script is the weak, cliche dialogue.  Learn how to make your script stand out with tight, engaging dialogue from working Hollywood experts. Emmy-winning Executive Producer of “Everybody Loves Raymond,” Steve Skrovan, Writer/Producer Mike Emanuel, Writer John Anderson, Writer/Script Doctor David Freeman and Emmy-winning Director Jason Tomaric share valuable insight into avoiding cliches and writing tight dialogue.

From Title to Outline

The treatment and outline for a movie is literally the backbone of the story, and the quality of your work in this phase can either make or break your script. Learn how to write an effective treatment and outline and simplify the process of writing the first draft.  Working Hollywood writers teach you how to get the most out of this valuable writing tool.

The First Draft

Learn how to properly write and format the first draft of your script.  This module is a complete guide that walks you through every step of how to format a screenplay.

Rewriting

Once the first draft of your script is ready, the real work begins.  Learn what to look for in the rewriting process, how to identify problem areas that may adversely affect the story and how to get the most out of each plot, character and line of dialogue. Emmy-winning Executive Producer of “Everybody Loves Raymond,” Steve Skrovan, Writer/Producer Mike Emanuel, Writer John Anderson, Writer/Script Doctor David Freeman, Emmy-winning Director Jason Tomaric and Jerrol LeBaron, president of the script brokerage site, inktip.com share industry tips and techniques on how to effectively rewrite your script.

Marketing Your Script

You’ve finished the script, now what?  Working Hollywood writers and producers take you through the process of finding an agent or manager.  Should you approach a producer instead?  How do you deal with the studio Hollywood Reader?  How do you cope with rejection?  This  module takes you through the intricacies of the Hollywood system and how to manage it.

This is by far, hands down, no questions asked, the best screenwriting course I have ever taken. I’ve finished my first script and have already gotten it in the hands of agents.  Thank you, FilmSkills!    – Eric C.

Learn More about this Course

How Audio is Recorded Digitally

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Even though sound is the other half of the movie going experience, it tends to be the most neglected department on set. The camera, lights, and actors get all the attention, all while the audio is almost an after thought. This is a mistake, as recording clean on set audio will save you may headaches (and money) later in post. But how does audio work, and how do new digital recording devices convert sound waves into a series of 1s and 0s?

In this excerpt of the FilmSkills Audio Recording Course, Emmy-winning director Jason Tomaric, Head of Audio at Apple and inventor of THX, Tom Holman, and the VP of education at Audio Technica teach us how the digital recording process works.

 

 

How I Went from Film School Dropout to a Hollywood Director with a $10,000 Day Rate

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Welcome!

Jason Tomaric, Emmy-winning director/cinematographer and founder of FilmSkills

Hello, I’m Jason Tomaric, and welcome to FilmSkills. I’m a working director and cinematographer in Los Angeles, California and the founder of FilmSkills.

I can imagine we have a lot in common. I grew up in a small Ohio town and started a production company shooting local commercials for bike shops, restaurants, and attorneys.  While I dreamt of shooting bigger projects in LA, I had no idea where to start. My family was a typical middle-income family with absolutely no industry connections, and film school wasn’t for me. But as fate would have it, our neighbors in the house behind us had a daughter, Johanna Jenson, who worked in the film industry in LA.  Our neighbor would send Johanna newspaper clippings covering my film shoots, and after a while, Johanna and I became pen pals. I would ask her questions about her life working in Hollywood, then anxiously await her reply. She was a lifeline between me and my career dreams in LA.  Her advice and kindness were instrumental in helping me move my career to the next level.

Eventually I moved to LA, where I built a successful career directing and shooting feature films, television commercials, and documentaries. If it wasn’t for Johanna’s kindness in helping an ambitious kid in Ohio, I may have never taken the plunge, and for that I am forever grateful.

As I continued to grow professionally, I was disappointed at the opportunities to learn– film schools were outrageously priced and had inexperienced – often bitter – instructors, books seemed too academic, and self-proclaimed experts on youTube were sharing what limited knowledge they had… from their bedroom studios and a webcam.  I didn’t want any of that; I wanted to learn from the pros.  And with that thought, FilmSkills was born.

 

Say Hello to FilmSkills

Johanna had a huge impact on my life and career. Afterall, it’s not every day that you can connect with a working Hollywood filmmaker. There isn’t a career day where you can follow around a director, producer, cinematographer, or editor like you can a police officer, doctor, or architect. Hollywood seems like a good old boys club where you have to know someone to get in, and once you’re in, no one on the outside matters.  But I found the opposite to be true.

Hundreds of successful and talented filmmakers from all parts of the business partnered with me on FilmSkills to share their knowledge and experience with you. We take you step-by-step through the hard-learned lessons on how to build a career from scratch. FilmSkills is about real world knowledge from real world filmmakers.

 

“Film professors do not teach the real world. That’s why our instructors are working Hollywood filmmakers.”

 

Widely adopted

FilmSkills has quickly grown into the film industry’s largest film training site.  Tens of thousands of students have learned from over 150 leading filmmakers.  FilmSkills has also been widely adopted by over 70 film schools, including UCLA, Yale, NYU, Columbia College Chicago, and Full Sail.  Why?  Because at FilmSkills, you learn from the best people in the industry.

  • James Cameron’s Assistant director team teaches you how to schedule and budget a film shoot
  • Steven Spielberg’s producers teach you how to produce a film
  • The directors of Castle, Star Trek, The X-Files, and The Fugitive teach you how to direct actors and the director’s craft
  • Judd Apatow’s audio post-product team teaches you about ADR, sound effects editing, and Foley
  • Emmy-Award winning Executive Producer of Everybody Loves Raymond and Seinfeld teaches you how to write a script

…and we haven’t even begun to scratch the surface.  Our 150 instructors have won, or been nominated for, over 70 Emmy, Academy Awards, BAFTAs, and Golden Globes. I bet you can’t find a film school with that caliber of instructors, and at FilmSkills, they are all here for you.

 

Get the Jobs and Day Rate You Deserve

By the end of the day, you want one thing– to get the jobs you want and earn the paycheck you deserve.  That is the core goal of FilmSkills.  You will learn the process and techniques in the safety of your own home so when you get on set, you’ll have the edge.  We are here to dramatically shorten your learning curve so you can accelerate your career. You may be wondering who am I to teach this?

 

 I went from a film school drop out to earning $10,000/day as a director and cinematographer in Hollywood.

 

I went from directing local bike shop commercials in Ohio to an Emmy-winning career in LA earning a $10,000 day rate. I’ve shot documentaries that span 20 countries and TV commercial campaigns for major companies like Toyota, McDonald’s, and Microsoft.  While my passion has always been filmmaking, a close second is teaching. I’ve seen a handful of people succeed in this business and hundreds fail.  The ones who succeed all have some of the same traits– as do the people who fail.  FilmSkills is about guiding you through the career minefield so you can improve your chances of being one of the success stories.

At FilmSkills, we’re not here to teach you the art. That’s your talent and gift.  We are here to show you the tools, process, and industry techniques to harness and shape your creative vision into a career.

We’re so excited to have you with us and are ready to help you take your career to the next level.  Let’s get started!

Join FilmSkills

 

 

 

Prepare Your Body for Production

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Shooting a movie is a very demanding and exciting culmination of months of work and preparation. It’s also gruelling, with each shooting day a minimum of 12 hours and often running longer, some productions shoot 6 days a week.  When you add travel time, many crew people barely get enough time to sleep, let alone find life balance outside of work.
Shooting a feature film is a lot like running a marathon – it’s all about pacing yourself and having the stamina to make it to the end. When getting started in the production phase of a movie, be ready for what awaits you.
  • Long hours–  Shooting a movie often leads to long, tiring hours. Be sure to eat healthy food and get enough sleep before the production begins. You’ll need as much energy as you can muster, so avoid sugary junk food from the craft services table, opting instead for solid, protein-rich meals to help carry you through your day.
  • Stress–  Be prepared for problems and stressful situations on set – equipment will break, actors will have bad days, locations will fall through, it will rain and you will go over schedule. The better organized you are in preproduction, the easier it will be to overcome problems as they arise. Remember Murphy’s Law: If something can go wrong, it will. Assume there will be problems, keep a professional, level head and rely on your crew – everyone on set has the unified goal of producing the best movie possible.
  • Keep organized– The secret to a smooth-running production is to be as organized as possible during the entire shoot. From organizing the equipment to keeping the office paperwork in order, always maintain a clean, safe work environment.
  • Be prepared – You are responsible for yourself, so be prepared with an extra pair of socks and shoes, rain gear, a flashlight, the necessary tools for your job, a first aid kit, extra sweatshirt and jacket in the even you shoot into the night, mosquito repellant, and sunscreen.
  • Do your homework – Always review the script for the next day so you know what to expect. Take some time to review the next day’s schedule, shooting requirements, and location, so you can mentally and physically pace yourself for the day’s challenges.
  • Know where you’re going – The easiest way to get fired is to be late to set. If you’re early, you’re on time.  If you’re on time, you’re late.  If you’re late, your’e fired.  Always Google map the directions to the location the night before and allow plenty of time to arrive.  It’s never good to start out the day stressed because you miscalculated your travel time.
  • Don’t drink – As tempting as it may be to join the crew for a beer after a shoot, avoid alcohol whenever possible during a shoot. You are already taxing your body, eating unhealthy foods, and falling behind on your sleep. Drinking will only dehydrate you more and make you hate life the next day.

Production is an intensive process that can take its toll on your health very quickly.  Take care of yourself so you can make the best film you can.

How to Know When a Project is the Right Project

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From the outside, producing a movie appears to be glamourous, fun and exciting. It is an adventure that may afford you the opportunity to work with famous personalities, travel the world, and have experiences that most people only dream of. The process of producing a movie is rarely as engaging as this romanticized facade. In reality, movie production is an arduous and challenging process that requires massive amounts of time and money. Many filmmakers fail under the weight of the demands of production and end up in debt with little to show for their efforts.

Smart producers will carefully consider the factors that go into producing a movie.

  • Make sure it’s a project you LOVE – A movie can take you years to produce.  From the time you develop the concept or find the perfect script to the moment you turn over the master tapes to a distributor, years will pass.  As basic as it may sound, it’s important to find a project that you truly love – one that you will look forward to working on, even when the going gets tough and it seems that the odds of completing it appear impossible.
  • Your movie will always cost more than you think – Even the most experienced line producers fail to account for costly line items: weather that can wipe out entire shooting days, additional equipment that may be needed on set, days that may run into over time, payoffs to annoyed neighbors when you’re shooting on location, codec problems in the editing process… there are dozens of factors that can add thousands of dollars to your budget.  Be prepared to spend a lot more than you originally anticipated before beginning the process.
  • Your movie will always take longer to produce than you think – Movies will always take longer to produce than you initially think. Especially in the independent world where money is scarce, you will be forced to develop cheaper workarounds that while saving money, will ultimately cost you time. There is an old adage that says you can produce a movie with only two of the following three options:  cheap, fast or good.  If you want you movie to be inexpensive and good quality, it won’t happen quickly.  If you want you movie to be inexpensive and quickly produced, it wont be good.
  • Don’t be too ambition with your page/day count – Shooting 4-5 pages a day is a comfortable amount that allows you time to rehearse actors and carefully set-up each scene. Productions with limited funds will try to cram as many as 7-9 pages per day.  This won’t allow any time to light or rehearse and will drastically cut into the production value of the movie.  You have to ask yourself at which point are you going to compromise the quality so severely that you’ll hinder your ability to sell the film.
  • Don’t forget Post-Production – Many producers are so focused on getting the film “in-the-can,” that they completely overlook the costs and time required to complete the post-production of the movie. From editing and sound mixing to composing and mastering, the post production process often takes longer and is more expensive than shooting the movie.  It’s a god idea to work with your post-production house at the very beginning so you can anticipate and manage your costs by pre-planning your post-production requirements.

Approach the production of a movie like you would with any investment. Look realistically at the costs and resources needed to properly pull it off.

Does Your Film Need to be Rated by the MPAA?

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A common question asked many many independent filmmakers is, “Does my film need to be rated by the MPAA?”  The MPAA, which stands for the Motion Picture Association of America is an independent board comprised of parents and clergy that view and rate movies. The rating system, G, PG, PG-13, R, and NC-17 helps parents select appropriate content for themselves and their kids. But, the rating has a serious impact on where a film can be released.

You’ve definitely seen the red or green band screens that appear before a movie trailer.  And yes, even trailers are rated by the MPAA.

 

FilmSkills recently partnered with Barry Freeman, former member of the MPAA and one of the people directly involved in the movie rating process. In his lesson, he teaches you how the MPAA functions, how a rating can affect a film’s box office revenue, when an independent filmmaker needs to have their film reviewed, the costs involved, and how to appeal a ruling.

In this lesson, Barry walks you through every step of the film ratings process, from how to prep your script at the beginning, to navigating the tricky review process itself.

You can check out Barry’s lesson and 240 other lessons from leading Hollywood Filmmakers by subscribing to FilmSkills Gold.

Join FilmSkills Gold

 

Prepare Your Film for Distribution From Day 1

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The process of making a movie is the same as the process of manufacturing any other product, and preparing your film for distribution from day 1 will save you a lot of pain when it comes time to sell it. Research the market, the audience, and what the distributors are looking for before you undertake a production. Most filmmakers spend massive sums of money and time on a movie only to discover that there’s no market for it. Smart moviemaking means figuring out a marketing and distribution plan before you begin preproduction.

https://youtu.be/sBxe7QcTOdY

 

  • Call and set up meetings with domestic and foreign distributors and ask to talk to a sales rep – The best way to reach them is by attending a film market like the American Film Market in Santa Monica.  Held each year, it’s a marketplace where distributors from around the world meet to explore and purchase content from producers.  Film markets are the best way to see what is selling and to where.
  • Ask distributors what genres are selling and what genres they feel will be hot in a year – For example, the horror genre is generally a consistent seller in the foreign market, is cheap to produce, and doesn’t require big name actors in the cast. Action-driven movies are less reliant on the dialogue, so even if the audience doesn’t follow the nuances of the performances, the action will be enough to sell the film.
  • Find out which actors you should approach to help increase the marketability of the movie – Which actors are bringing in the largest sales of independent movies in the foreign market? Some actors perform better in different markets, and producers know this.  Smart casting is not just about finding the right actors to play the part, but finding actors who can attract crowds in popular markets like Germany, latin America, Japan, and China.
  • Find out what format distributors prefer – Each distributor will require slightly different delivery specifications, be it 35 mm film, an HD, or digital format. This will help you decide the best camera and format on which to shoot your film.
  • What is the ideal length for the movie? –Many distributors prefer a movie around 90 minutes in length, simply because movie theaters can fit more movies into the daily schedule, thereby increasing audience turnaround, and profits.
  • What marketing materials should you collect during production to help in the distribution of the movie? It’s critical to start shooting behind-the-scene stills, videos on set, interviews of the cast and crew, and assembling bloopers for social media. Not only can you start building hype in the film during production, but these materials will come in handy when you send out press releases.
  • What are the average sales prices for the type of movie you’re making – By analyzing how much movies of a similar genre perform in the market, you can calculate the budget and determine how much money you should spend. Basically, you want to keep you budget low enough to ensure you see a return on your investment.

The rules of producing and selling a movie are a lot like the rules governing the game of basketball. Each player must acknowledge and understand the parameters, the size of the court, the height and diameter of the hoop, the number of players on each side, and the time restrictions for an organized game to take place. Whereas some may find these rules limiting, many talented athletes have excelled at the game, even when playing within the guidelines. The same philosophy applies to the production of a movie, in that filmmakers must follow the distributor’s strict guidelines governing the content, format, casting, and genre for the film to be commercially viable. Using a little creativity and talent, filmmakers can certainly succeed within a distributor’s rules. Remember that the film industry is a business designed to make a product that sells and makes a profit.

 

Learn More at FilmSkills
Introduction to Distribution
Now that your movie is finished, it’s time to sell it and begin generating revenue.  But this is easier said than done – the costs of distribution, marketability of your project, and dozens of other factors will impact the price you receive.

In this module you will learn how the distribution process works, the way studios approach the process, the windows and time frames of distribution, how to approach self-distribution, and knowing your audience. Guiding you through these tricky waters are veteran studio executives from LucasFilm, Sony, and FreeMantle Media.

Unlock the distribution process so you can get the most for your movie.
Domestic Distribution
Making the film is only one part of the process. Selling it is the other. Whereas making the movie has been a stressful process, the game of finding a distributor, negotiating the contracts, preparing the deliverables, and facing the sometimes staggering costs of E&O insurance, conversions, and M&E mixes hit most filmmakers by surprise.

In this module, we will prepare you for the distribution process so you know what to expect, what materials are needed, and most importantly how to protect yourself in the high stakes game of film distribution.
Foreign Distribution
Selling your movie in the United States is only part of distribution.  Now, it’s time to sell your movie to the rest of the world, and in doing so navigate the challenging path to making money in the foreign market. With thousands of films produced and marketed every year, foreign distributors are faced with more choices than ever before. Knowing how this process works can put you at a tremendous advantage.

In this module, you will learn how foreign sales agents work, how to find a reputable agent, common scams used to steal your movie without paying you, what you will be expected to deliver, how to collect your money, and hundreds of other tips.  We take you to the heart of it all at the American Film Market to see – firsthand, how the foreign distribution process works.

Become the smartest person at the negotiating table by learning the process, and make a profit on your movie.
Online Distribution
The Internet has become a powerful alternative to traditional distribution outlets for independent filmmakers, but while this option seems alluring, it is fraught with challenges. Finding a voice and an audience online is a long and expensive road, and while the profit margins can be greater, so can the time and effort you put in for those profits.

In this module you will learn how to properly distribute your movie online, how content aggregators work, how to find a unique presence online, and how to leverage your online movie to get your next movie deal.

Invest your time wisely with the best results by learning the right way to approach Internet distribution.
Film Festivals
We all dream of an extravagant Sundance Film Festival premiere where we are showered with offers from anxious distributors stepping over each other to acquire our films.  While this certainly happens, the reality is that film festivals offer much, much more in the way of contacts, self-promotion, and an opportunity to pitch your next project to investors and producers.

In this module you will learn how to find a qualified producer’s rep, how to get into top film festivals, what to do once you are accepted, how to attract the right audiences at the screenings, and how to leverage the opportunity for your next production.

You worked hard, so learn how to maximize you and your film’s exposure at film festivals.

How to Effectively Work With Your Editor

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The editor holds a very special position in the filmmaking process. An artist in his own right, the editor is tasked with assembling the rough footage in a way that fulfills your vision. However, whereas you have been involved with the film for months, possibly years, the editor has an objective point of view and can spot problems in story and pacing you may never see. For this reason, you must trust the editor and give him breathing room to build the story.

As the director of your movie, you’ve been involved in virtually every step of the process – from writing the script to shooting the footage on set. But now that you’re in post-production, you have the opportunity to work with someone who can bring something to the project that you can’t – objectivity.

The challenge that somebody has to have, and most often that challenge is met by the editor, what is actually relevant to the telling of the story. They weren’t on set, they didn’t get up at five in the morning and fight the mosquitoes to get that incredible opening shot as the sun came up over the swamp and people were dying left and right because the bugs were thick and the air was hot and it was just a miserable [experience]; they don’t care, they want to tell the story.

 

             – Larry Jordan, Award-winning post-production trainer, member of the Directors Guild of America and the Producers Guild of America

 

The biggest disservice you can do for the film is to sit over the editor’s shoulder and direct each edit. This common mistake not only takes away the editor’s creativity as an artist, but also your ability to make objective decisions as to how the film will cut together.  Let’s face it, you have spent months, possibly years working on the movie and know every detail of the story. Subsequently, plot holes may be invisible to you as you mentally fill in gaps with your knowledge and familiarity with the story. That’s why working with an editor is so important – editors come onboard later in the process and aren’t exposed to the creative process during production. When they receive the footage, they can objectively build the story with the available shots.

One of the most difficult scenarios with a director, is one who is a little too controlling for their own good, because sometimes, directors, and it really comes from a state of passion, I find, they have their vision, and they’re so set on their ways that they can come into the editing room and completely dominate the process. And it’s a very uncomfortable position for an editor to be in because it doesn’t give the editor time to really explore the footage on their own and see if there are alternative ways to create the scenes.

 

                   – Brad Schwartz, Emmy-winning Editor, “Top Chef,” “Dancelife,” and “Viva Hollywood”

 

Be smart and give the editor guidance that allows him to build the assembly cut alone. Once the assembly cut is finished, can come in fresh, watch the film and give the editor notes as to what changes need to be made.

Some tips and tricks to keep in mind when working with an editor:

  • Concentrate and focus – The editor is the keeper and manipulator of the footage, builder of the story and the objective eyes of the director. Tasked with building the best possible story out of potentially thousands of shots, sound effects, lines of dialogue and music cues, it’s important to be completely immersed in the story and footage.  Part of being able to concentrate is setting up a quiet area where he can work uninterrupted. Make sure the editor can aside specific time to work on the film, turning of the phone or television so he can fully immerse himself in the world you are creating. Although it takes hundreds of people to produce the footage, it really rests on the shoulders of the one editor to put it together.
  • A good editor spends more time thinking than editing – The actual physical process of cutting a film is fairly quick and easy; but the majority of the editor’s time is spent discussing the ordering of scenes, what shots work and which don’t, options and alternate ways of telling the story, how to improve the performances, how to correct pacing issues, and address the flow of the story. The editing process involves a little bit of cutting, but a lot of thought, discussion and analyzing to determine whether the edit has improved the movie. Welcome, and be open to, this dialogue, for it is in these conversations that the real art of editing happens.
  • If you’re directing the movie, bring on an experienced, objective editor – No matter how good of an editor you think you are, NEVER cut your own film. You know it too well and will mentally fill in plot holes because you know the story so well. You need the objectivity of a third party.

Ultimately, a good editor needs time to wrap his head around the material to find the best way to assemble the story.  Trust him, and let him have a pass at the material before you jump in.  You may just be surprised at the result.

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