Corrado Part II

[mentatDUKE]

Ok another question: You've mentioned issues w/ actors and "production mishaps" derailing the story and harming the production as a whole. This, I feel is a 1st time director's nightmare (heck, even Fincher was a victim of this on Alien3).

You also mentioned that you wish you were a "stronger director" and "should have asserted" yourself.

Any advice to us regarding what to specifically look out for and how to handle issues like these? I think the biggest reason a newbie director may not want to assert themselves is to avoid pissing off the actor/diva, having them walk, and ruining the production anyway.

I know you may not want to give details as to what specific issues you had with actors on Corrado but any general advice would be helpful.

Your openness so far is much appreciated. :thumbsup:

 

[Kholi]

Here's where we sort of begin to separate, Adam. I'm curious as to why you say Religious doesn't do well, when it's probably one of the easiest markets to tap?

As well, and I will say that it's only through a producer that I have had this information, distributors now have no real interest in horror (especially zombie movies) and are on to Sci Fi.

And, on the topic of Sci-Fi, let's not leave it off of the list: it sells, and it sells well. Unless you see Sci-Fi as a blanket genre, under which action, horror, etc would fall beneath.

The thing is, with the entire list--and the truth that's missing in my eyes--is that you have to actually be competent enough in whatever genre you pick, along with being creative enough in execution. No single one will do well or better if you have stale ideas and are not able to deliver on basic levels.

Try one room features like LEGACY. One guy, one room. That's something that's pretty much being cautioned against in this thread, but as far as I know the movie got a limited theatrical run out of the gate, along with a decent distribution deal.

If you check the trailer (http://trailers.apple.com/trailers/independent/legacy/), it's a very illustrative example of what I mean by competent. And, the director's first feature film.

It's true, I probably wouldn't go out on my first venture under just Drama or just Horror, besides it's not my sensibility to stick to the whole "genre" list, but at the end of the day I'd bet on something I *know* that I could do well (and recognizably so) versus something I just *think* that I could do well. Most of the time, people think they can do Horror, Sci-Fi, and worse... Action... but have yet to reach the level of competent delivery.

 

[taormina]

Here's where we sort of begin to separate, Adam. I'm curious as to why you say Religious doesn't do well, when it's probably one of the easiest markets to tap?

As well, and I will say that it's only through a producer that I have had this information, distributors now have no real interest in horror (especially zombie movies) and are on to Sci Fi.

And, on the topic of Sci-Fi, let's not leave it off of the list: it sells, and it sells well. Unless you see Sci-Fi as a blanket genre, under which action, horror, etc would fall beneath.

The thing is, with the entire list--and the truth that's missing in my eyes--is that you have to actually be competent enough in whatever genre you pick, along with being creative enough in execution. No single one will do well or better if you have stale ideas and are not able to deliver on basic levels.

Try one room features like LEGACY. One guy, one room. That's something that's pretty much being cautioned against in this thread, but as far as I know the movie got a limited theatrical run out of the gate, along with a decent distribution deal.

If you check the trailer (http://trailers.apple.com/trailers/independent/legacy/), it's a very illustrative example of what I mean by competent. And, the director's first feature film.

It's true, I probably wouldn't go out on my first venture under just Drama or just Horror, besides it's not my sensibility to stick to the whole "genre" list, but at the end of the day I'd bet on something I *know* that I could do well (and recognizably so) versus something I just *think* that I could do well. Most of the time, people think they can do Horror, Sci-Fi, and worse... Action... but have yet to reach the level of competent delivery.

Religious is easier if you have a) grassroots (like a giant church congregation) or b) pre-sales. I personally wouldn't touch it. TONS of failures for every success, unlike action.

Horror still sell just fine if properly cast. I classify Sci-Fi under Horror as one big blanket.

Remember, the common denominator here is NAME CAST.

 

[Ted Spencer]

Kholi, just to be clear - I was asking what genres work within Adam's own *strictly defined dealmaking scenario*. The 'buy two/get one free' (to put it glibly) method he described earlier as his specific (and successful) approach: have any two of: 1) a suitable 'genre' script (as Adam described above), 2) appropriate 'name' actors, or 3) the financing, and you can get the third thing.

I'm sure Adam will correct me if I'm summarizing this inaccurately...

I did *not* mean as a general approach to filmmaking business, since there are certainly other ways to get there than Adam's, particularly if you'd rather go outside of those genres.

 

[Kholi]

Religious is easier if you have a) grassroots (like a giant church congregation) or b) pre-sales. I personally wouldn't touch it. TONS of failures for every success, unlike action.

Alright, that's a fair way to compare. I'd wager that most religious filmmakers just do not have the salt that it takes to make a decent feature. I'm curious as to what Brandon Rice feels, being so deep in the sector and having successfully distributed their first feature film under the tent, with no major stars attached.

I classify Sci-Fi under Horror as one big blanket.

Okay, makes sense.

Remember, the common denominator here is NAME CAST.

Is your advice to no name directors, with no money, to wait for a name and a larger budget?

 

[Kholi]

Kholi, just to be clear - I was asking what genres work within Adam's own *strictly defined dealmaking scenario*. The 'buy two/get one free' (to put it glibly) method he described earlier as his specific (and successful) approach: have any two of: 1) a suitable 'genre' script (as Adam described above), 2) appropriate 'name' actors, or 3) the financing, and you can get the third thing.

I did *not* mean as a general approach to filmmaking business, since there are certainly other ways to get there than Adam's, particularly if you'd rather go outside of those genres.

Ah! Sorry, TedSpencer, I misread. Then I can see how that's gospel for the way that Adam approaches things. Another path, as we've all been saying.

Thanks for clarity.

 

[taormina]

Mentat duke,

Not really ready to go into specifics, but I will say this - I would've love to have shot the script I originally wrote. There is no defense nor preparation against being green and new. All the boards, all the notes, all the preparation in the world will not prepare you to have a former A list actor come on set and steer the production his way, or the lead actor assert very strong opinions because of his experience.

You can't help it. You're new, and easily influenced. You don't have the backbone to say "We will do it my way, please, and thank you". Even if you do, it is an unwinnable situation since others will talk and say you're being obstinate, stubborn, etc.

It is only when you have a couple movies under your belt that your reign on set becomes absolute. On H14, there were no other opinions. Revelations came from almighty God directly to me, and were thence disseminated down to the crew.

Attitude has lots to do with it, and I sat down and had a meeting with Me, Myself, and I, and we agreed that it was I and only I who was responsible for the final product. None of the fools who offered advice and steered the ship are sitting down with you on the couch watching Corrado and defending what was done. They are all gone. All that is left is the movie, which stands as an imperfect monument to a first attempt.

The second you realize that "it's all on you" you will have no problem asserting yourself. I can handle failure, but I want to fail because of what I did, not what I was told to do.

I'm a totally different director than on Corrado. That director is dead for all intents and purposes.

 

[taormina]

Is your advice to no name directors, with no money, to wait for a name and a larger budget?

Not at all. Before I answer your question, first tell me how many times you've been to AFM to pitch projects. It costs like $200 to get in. Just curious.

 

[Shawn Philip Nelson]

Not at all. Before I answer your question, first tell me how many times you've been to AFM to pitch projects. It costs like $200 to get in. Just curious.

Is that possible and/or adviseable?

I've heard that AFM is best if you either have (a) finished project ready to sell or (b) a very pro package put together the likes of which you are rolling now and that regardless of which one of those two you should have someone else guiding you around and pitching for you.

Are you saying guys like me and Kholi should pay the $200 and pitch our scripts there? Can that be done? I'd have 3 scripts ready by this November.

 

[Ted Spencer]

You're new, and easily influenced. You don't have the backbone to say "We will do it my way, please, and thank you". Even if you do, it is an unwinnable situation since others will talk and say you're being obstinate, stubborn, etc.

...It is only when you have a couple movies under your belt that your reign on set becomes absolute.

Helluva rite of passage, huh? Same thing in any team-based big-ticket art form. Early on, even as the nominal leader you're liable to get eaten for breakfast by 'big dogs' you've hired, whether you're right in your position or not (and early on, you're pretty often not).

Only if you survive that long enough to become a real player do *you* get to be the big dog...

 

[taormina]

Is that possible and/or adviseable?

I've heard that AFM is best if you either have (a) finished project ready to sell or (b) a very pro package put together the likes of which you are rolling now and that regardless of which one of those two you should have someone else guiding you around and pitching for you.

Are you saying guys like me and Kholi should pay the $200 and pitch our scripts there? Can that be done? I'd have 3 scripts ready by this November.

What I'm saying Shawn, is in you and Kholi's case, you already have a body of work that you can demo. I think either of you could make a feature that would sell.

Now it's time to stop sitting around and thinking of the BUDGET and how you are going to raise that money.

It's time to start packaging a film together.

Get the word "scripts" out of your vocab for AFM. They are MOVIES. Take your best one, and draw up a realistic budget for it. Say $500K. Plan on spending $150-200K on talent. Pick one or two marketable names and call those agents up, do availability checks, feel them out.

Head to AFM with a one sheet and poster and tell the distributors it looks good that you can make Movie X fly with these guys, and see if you can get deals out of them.

See how far you get. If your names are realistic and achievable, you will get pretty damn far.

Start trying to actually get the film made. You will be surprised at the results.

The project is only waiting on you.....you know that....right?

 

[Zak Forsman]

Not at all. Before I answer your question, first tell me how many times you've been to AFM to pitch projects. It costs like $200 to get in. Just curious.

I went two years ago sans project just to see it for myself. to demystify it. would you recommend attaching someone who can put you in front of people, or did you go in on your own with a list of targets?

 

[Ted Spencer]

So much interesting stuff here...wow....

 

[Kholi]

Just to be clear, Adam, I have a feature. Going through post right now.

On AFM: same understanding as Shawn, AFM is for selling material, and last year it was bleak from what I was told. I'll be there his year, count on it.

Now that its clear, what would you say for did time filmmakers?

 

[taormina]

I went two years ago sans project just to see it for myself. to demystify it. would you recommend attaching someone who can put you in front of people, or did you go in on your own with a list of targets?

When I went to AFM 2009 to presell H14 I did so with my partner at the time and no firm attachments, but with a strong hunch I could get Cuba Gooding. We had a handshake deal, no contracts were completed yet. I think we got $1.2M worth of presales. Some of which carried over to the new cast.

My partner at the time was a sales agent with a booth (room) there. I would definitely make a point of befriending or making a partner (producer) out of a sales agency as they can hook you up with the right people.

Also get a hold of the buyer list and do a mass e-mail campaign right before the show, you will get huge results. I set something like 50 appointments just off e-mails.

My AFM days are over now as pre-sales are not really part of my game anymore. I have people who can get me presales.

But when I did not, AFM was it. I could not have made Hangar 14 without AFM 2009, quite literally. It was there that I met the people who made the movie go.

 

[taormina]

Bleak by whose standards.....? It will be good enough for small frys like you and I anytime.

 

[Brandon Rice]

Alright, that's a fair way to compare. I'd wager that most religious filmmakers just do not have the salt that it takes to make a decent feature. I'm curious as to what Brandon Rice feels, being so deep in the sector and having successfully distributed their first feature film under the tent, with no major stars attached.

I certainly don't want to highjack this thread, but wanted to mention some thoughts on "religious films"

First, we've done very well with No Greater Love, we have moved a good amount of units and our distributors "are pleased" with how things have turned out. And, they want our next project.

The reason SO MANY "religious movies" fail is simple, they are: A) Trying to be too wide in scope (the next "Blind Side") or B) They present a topic that even within the religion niche is controversial, or finally C) Make a really crappy movie (which is most of what happens)

For our next picture, we plan to have a limited theatrical release, with possibly a "name" or two in a few roles. We most likely won't have a "name" in the lead, but it won't hurt our cause one bit. Having a "name" for a impactful supporting character can work just as well.

Also, we've had some foreign success as well... in case anyone was wondering.

The key though, as with any market, make a GOOD film! I believe we did with No Greater Love, though of course it has it's flaws.

 

[Brandon Rice]

Hey Adam, it's good to see you back here!

Not sure if I missed it... what's the latest on H14?

 

[bosindy]

When I went to AFM 2009 to presell H14 I did so with my partner at the time and no firm attachments, but with a strong hunch I could get Cuba Gooding. We had a handshake deal, no contracts were completed yet. I think we got $1.2M worth of presales. Some of which carried over to the new cast.

Hi Adam,

I have a couple of questions I hope you can answer.

1) I haven't been to AFM, you pre-sold H14, what kind of distributors did you deal with? territories, kind of deals etc.?

2) you mentioned you bring a package deal, 1 sheet, poster etc ... at what point do people that do deals on pre-sales want to see a script?

3) At what point did you actually get money from the disty's for production? (what was essential to have in place)

4) How did you leverage the pre-sales to fund the gap between the < 1.4M when Cuba didn't work out and the final total budget of 3.5M?

5) were there any issues in getting a completion bond given your experience with Corrado and was it required for the presales?

thanks
Jim

 

[taormina]

Hey Adam, it's good to see you back here!

Not sure if I missed it... what's the latest on H14?

It's in post a month from delivery, bro. Hope you're well !!!