"Corrado" - A production blog

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Wow that is great news! Joe Gannascoli was fantastic in The Sopranos.

Adam, could you talk a little about how you got an agent after starting this project? thanks

Drew
 
I Love Canada!!!!! especially GTA (and I don't mean Grand Theft Auto)
 
Well Drew, that little saga was covered in detail on Page 5 of this thread, but suffice to say that I had to attend a meeting to sign Tom Sizemore's contract, and his agents told me that they liked my script very much. One of them had worked at a lit agency prior. He mentioned that he read tons of scripts and mine really stood out.

I will mention at this point that I don't think Corrado is that good of a script. It is a good, solid script. From the time when I had it up on triggerstreet, I got tons of good reviews. My strong points are dialogue and pace. Or so I've been told.

In any case, I wasn't willing to write scripts for others, so they wanted to sign me on as a director. I have the contract and am still looking it over.

I was initially very excited about getting an agent, especially a decent agent with connections like mine. The thing is, if Corrado does well, generates buzz, and notoriety then I'll be approached by countless agents. It's inevitable. It just happened sooner than I thought it was going to.

I've quickly learned the benefits of having an agent, as a director:
  • A good agent actually knows people that get things done (Joe Gannascoli is proof of that)
  • An agent gives you an element of credibility
  • A good agent can package films by helping with the casting, like mine is.
  • A good agent transcends typical agent boundaries and knows about distribution and distributors, like mine does.
Notice I've left out that a good agent finds you work. That part isn't applicable to me now, but my agent tells me after Corrado is filmed he's going to push me hard into episodic TV. We'll see.

Is that what you wanted to know? Let me know and I'll clarify whatever you want.
 
Lol you are right Adam, it's crazy, I posted 2 minutes after you on page 5 and must have been typing as you put that up. Perfect explanation, thanks a lot, I can't wait to hear your next update!

Drew
 
Wow, Adam, just wow.
Just like to thank you for being what everyone has already said before, a great inspiration to us all. I'm in the process of location scouting and casting the last roles for my first independent feature and you've just given me that extra moral boost everyone really needs. Thanks :)

Sid, out.
 
Glad Barry had you share this, this thread is proving to be very insightful. It is rare to have someone be so open about the whole process of getting things done while they're actually doing it. Thanks for being so honest and for taking the time to type these posts to keep us all informed. I'm sure you're helping and motivating a lot of people on the board who are reading this. You have me excited aswell hoping for you to do well on this adventure. So far it's been a great read.

The benefits of having a lot of experience negociating and getting that one known actor (Tom) clearly show. That was a real smart move. Congratulations on signing Joe aswell!

Your truck is awesome and really makes sense, especially since coughing up 1K the last time you rented... Regarding stealth shootings, to 'hide' the truck even more, you could maybe have some stick-on signs made for the sides. Something like "Uncle Joe's Moving Company" or "Miller Fruits & vegetables" or anything that wouldn't have it look like "MY FILM PRODUCTION TRUCK". ;)

PS: Now that you have a couple of known actors in there, you also might want to think about including a couple of security-guards/bouncers in the budget, to make sure your set isn't disturbed by some 'fans' when filming out in the open. But I guess large friends might do the trick aswell.
 
This may be the only thread in DVXUser history where I've found myself yelling at my computer screen! I think my most repeated phrase as been: "Holy Crap that's incredible!"

Thanks for sharing Adam. I've always known the dream is possible, you've just given me more to hang on to.

And I've got to get me one of those grip trucks!

Chris
 
Thanks for all of your support.

There isn't much new to report now, but all this work is taking a little toll on me. Hey, I'm not sulking or complaining, but I suppose this is a blog and thus I should probably share the less glamorous parts.


First, if I owe you a call or an e-mail, I'm sorry. Busy does not begin to describe this thing. It's not the sheer amount of work, that's actually quite manageable, its the distractions.

Why? Because I'm an idiot. When I filled out the forms for Film Finders, Variety, and Hollywood reporter, there was a little unassuming blank there that said phone number. It sat staring at me.





phone number:




The little colon beckoned for an answer, it sat patiently waiting, mocking me with it's beady eyes.

In my haste, I put down my number, not really understanding the implications of my actions.

Now my phone rings allllllllllll day long.

At first it was exciting.

Caller: Is this the production office for Corrado?

Me: Why yes!

After like the hundredth call, it gets old. I've been called by cinematographers, sound guys, ADs, post production houses, catering companies, location scouts, actors, rental houses, actors, picture vehicle companies.......did I mention actors?

The qualification levels are huge, too. I get people who've worked with Sizemore before on various flicks. I've got so many Emmy award winners I can't even count how many people who've called that won an Emmy for something. One guy who was a composer even won four. No Oscar winner, though.

I thought to myself "Holy God, is that what awaits an Emmy winner? Cold calling? This is a hard business!"


I have been solicited wholesale. Plus they send e-mails, too. Tons of them.

The good part is I've found some pretty decent people from these unsolicited calls. The bad side is the phones keep ringing and we are still almost two months away from filming.

So I screen my calls now. 818, 310, 323, 213 and 626 are the worst offenders, but occasionally I answer a 562 that slipped under the radar. Some really smart ones are restricted, which I immediately banish to voicemail hell.

You have to give the callers some credit, though. they are pounding the pavement looking for work, which I suppose I can appreciate.

Casting is going well, and I feel like I'm on the verge of announcing a couple more good names.

I'm also getting pretty good inquiries from distributors. They all ask to see a screener, which of course I don't have. I tell them I'll send one as soon as the movie is done. Some don't take no for an answer, and want to see websites, synopses and movie posters.

This is all good.

It screams pre-sales, but frankly you'd have to be an idiot to make a deal at this stage. The film could be big or it could be a bust.

I think of it this way. If it does well at festivals, I could be in for a decent deal. What would be decent? Low 7 figures.

What would suck? just making the budget back.

I have no idea what this movie will do.

Smart, experienced people have painted both scenarios for me. I'd love to think some big guy would pay a million for the thing, which would be chump change for any of those guys, but I'm not holding my breath.

So speaking of holding your breath, if I haven't called you and I should have, don't be pissed.
 
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I just picked up on this thread today, thank you for sharing your valuable experience! You are a real inspiration and you've given me a little confidence boost in my own work. Thanks again, and I'm rooting for you!
 
This thread rivals Robert Rodriguez's "Rebel Without a Crew" (the book that gave me the balls to try this thing of ours). I'm dead serious.
 
Man this thread has grown since my post on page 1.

This is an amazing thread with tons of great information, tidbits, advice, and LOTS of inspiration. Please keep us updated at every opportunity!!
 
I've never read Rebel without a crew, but I like Rodriguez. I appreciate the compliments but I don't think what I'm doing is as groundbreaking as what he did when he did it.
 
Hi Adam:

Boy, it just seem like last Fall when I was picking your brain about how you had your HVX setup and here you are in the "real" film business. Sounds as if you are making it happen.

You are a sharp guy, just remember, 90% of what everyone in Hollywood tells you is Bullshyte. Also remember that people that you think are your friends very well may not be. Your prodution diary shows that you probably already know this, I am just that little voice constantly reminding you of it.

Have you used the Rowe dolly yet? I have been thinking about buying one for a long time but am a little hesitant about which way to go on a low end dolly for my HVX.

Good luck with Corrado. You are smart, nobody gets anything distributed without name brand talent. It's kind of dumb but that's the way Hollywood works.

All my best,

Dan
 
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Hey Dan, thanks, man.

Ah, Hollywood. There is no honor among thieves. It's all good now but as soon as there is a problem everyone involved will be killing each other's children.

I know the drill.


As for the Rowe, I haven't used it much. I do really like it, though. I bought the 32 wheeler and it's smooth, that guy aint kidding. Overall very happy with it. Ask me after Corrado.

Again thanks for the kind words.
 
Excelent, no nonsense, honest and very well written thread. You really have great writting skills. This is the best thread I've ever read on DVXuser. Thanks for your time, Taormina. We're all on this journey with you. Independently of the results (which, by reading trough your determined words and focused strategy, will certainly be great), this experience you're sharing is going to inspire, and hopefully bring more talented indies to success.

We're reading the blog of the next Rodriguez, folks! This is history in the making! Keep it up, Adam!

Just don't forget one very important thing: the work you're handling may be overwhelming at times, but never, ever forget that, above, all, you should have fun doing your movies, may it be with Tom Seyzemore, Robert De Niro or Joe Schmoe- you're a filmmaker because that's your passion!
 
Right now I just got off the phone with a friend of mine and I'm helping him prep his feature!!!!!! It's around 500k and it's almost exactly the same madness as yours! We're going to be shooting on two RED one cameras! Thanks for your thread it made me have the B^lls to talk to some people who I never would of know how to talk to!:beer:
 
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