I F***ING HATE YOU -- a film by SABI -- the extended 9-minute cut

i would really like to get into a NYC festival.

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i would screen in vito's rathole deli basement if it gave me an excuse to fly back to NYC. i love it there. my dad ran his cocaine smuggling operation out of an apartment at fifth and west 88th from 1970-1972 so i always make it a point to visit that stretch of sidewalk. lots of significant family history there.
 
ha, I remember hearing you talk about that. I had read your dad's book years and years ago.

I would think that NewFilmmakers would be a good bet. Esp if you have an in from the LA one. But it's not exactly a fest.
 
Also, give a shout to Two Boots Pioneer. They are about the last real independent theater in NYC. I've set up a number of screenings there and they are VERY supportive of the indie crowd. They are in the E. Village.

I think you can get to them through www.twoboots.com/pioneer.

They might include you in some run, or something. Dunno. But if they like your work, they will reach out to you.
 
Zak,

If you do set something up in NYC be sure to let us know. It would give me an excuse to get my butt down to the city again.
 
DELIVERABLES:

With the joy of a distribution deal, comes the headache of delivering your film, paperwork, agreements and legal clearances. Below is a list of 40 plus possible legal delivery requirements; (They are broken down by items that can be compiled during production, postproduction and/or both.)

LEGAL DELIVERY ITEMS

PRODUCTION

1. WRITERS AGREEMENT
2. UNDERLYING RIGHTS AGREEMENT (chain of title documents)
3. FORM PA (US copyright registration form)
4. SCRIPT CLEARANCE REPORT
5. FORMATION OF PRODUCTION COMPANY DOCUMENT
6. DGA AND WGA SIGNATORY AGREEMENTS (if applicable)
7. SAG SIGNATORY AGREEMENT
8. PRINCIPAL CAST AGREEMENTS
9. SUPPORTING CAST AND DAY PLAYER SAG AGREEMENTS
10.ACTOR PREMIERE AND PHOTO CLEARANCE OBLIGATION STATEMENT
11. DUBBING RESTRICTIONS
12. PAID AD STATEMENT
13. RESIDUAL OBLIGATION STATEMENT
14. DIRECTOR AGREEMENT
15. PRODUCER AGREEMENT
16. STUNT AGREEMENTS
17. KEY CREW AGREEMENTS
18. CREW DEAL MEMOS
19. IA SIGNATORY AGREEMENT (if applicable)
20. SCRIPT SUPERVISOR LOG
21. LOCATION AGREEMENTS
22. ART CLEARANCE AGREEMENTS
23. MISC VENDOR AGREEMENTS
24. BUDGET

PRODUCTION AND POST ITEMS

25. MAIN CREDITS
26. END CREDITS
27. BILLING BLOCK
28. PAID ADS STATEMENT
29. FINAL VENDOR LIST
30. COMPOSER AGREEMENT
31. VISUAL EFX AGREEMENT (if applicable)

POST ITEMS

32. EDITORS NOTES
33. MUSIC CUE SHEETS
34. MUSIC USE & SYNC LICENSE AGREEMENTS
35. SYNOPSIS & PRESS MATERIALS (including production still photographs)
36. FINAL COST REPORT
37. COPYRIGHT & TITLE REPORT
38. POST SOUND AGREEMENT
39. FINAL CONTINUITY LIST
40. DOLBY, DTS &/or SDDS AGREEMENTS
41. LAB ACCESS LETTER
42. MPAA RATING
43. E&O INSURANCE DOCUMENT
 
fortunately, i have my sh*t together and i have everything i need. haha! :)

the deal memo arrived today. i'm looking it over. i will be conference calling them tomorrow at 3pm to ask questions. basically, i want to know what their hard costs are because these come before the 90/10 split of the net.
 
maybe i'm a n00b (ok, not maybe) but a lot of those items are new to me. would someone (for mine and others' sake) care to define the lot of them? would be helpful for all, i think?
 
I'm surprised they would ask for a final cost report. Did they ask you for this or was this just a generic list??

It's the one document they have no way in hell of substantiating.
 
Who determines what applies to the production? I site E&O as an example - do you have it?? I don't think you'd need it for a short, but could be wrong.
 
taormina said:
Who determines what applies to the production? I site E&O as an example - do you have it?? I don't think you'd need it for a short, but could be wrong.
Click to expand...

I have it for my features. but not for this production in particular and i doubt its a requirement for a short. will be able to clarify exactly what they want tomorrow during the conference call.
 
thanks, adam. this distribution agreement i have points directly to why Audience Awards are so much more valuable than Jury Awards when it comes to distribution entities wanting to do business with you... especially with no names attached. when they make the announcement and everyone sees who i'm working with, there will be a collective, "oh, I get it". I am one of ten shorts and ten indie features that got the same deal. and it was based on the "pull" model i brought up in your thread.

it's killing me not to be actively promoting it now, but they want to wait. :(
 
got the schedule for DANCES WITH FILMS today! so, i just sent these off to the print shop to have 4x6 postcards/lobbycards made.

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front / back

here's a little clip of someone reading one... i love this guy's face... he's like WTF is this sh*t? :D

http://www.youtube.com/watch?v=4CiIIYkJYzg

IFHY is doing so well on the festival circuit we currently have a 70% acceptance rate. 12 acceptances and 5 rejections so far.
 
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