Obtaining a Script and Rights
Call the publisher. The name of the book's publisher is always found
on the cover or within the first couple of pages of every book. Look
up their phone number, call and ask for the Subsidiary Rights Department
(the "sub rights," if you want to sound like you are "in
the know"). Tell them you want to make a "rights availability
inquiry." They will most likely ask you to submit your request
in writing by fax. (Often this information will be on a recording,
or you might simply be referred to a Web site with the author's information.)
Response time is usually about two to three weeks. About 10-15 percent
of the time you will be told that the rights are unavailable. But
in most cases they will send you the name and phone number of the
author's agent. At this point, you simply call the agent, ask the
question and hope for the right answer.>>
Script Development
Includes: "The Myth of Development: Joan Galt on the games
development people play" >>
The Role of the Producer
Includes: "Chicken Soup for Producers: Mary Jane Skalski lists
10 rules for new independent producers" >>
Film
Financing
Until recently, the term "international coproduction"
had little relevance for American independents. The United States
has no coproduction agreements with foreign governments and no system
of tax breaks or subsidies to encourage foreign film investment.
However, as production finance becomes increasingly hard to obtain
from domestic distributors, American independents are discovering
ways in which to participate in international coproductions. >>
Creating
A Budget
While studios can underwrite lengthy reshoots, artful editing, and
enough F/X explosions to distract an audience from almost anything,
indie filmmakers are often forced to cross their fingers and hope
no one notices the boom in the shot, the hole in the plot, or the
day the lead actress was having an allergic reaction to her cough
suppressant. And while some flubs can actually lend a low-budget
charm to the film, others are serious enough to send viewers streaming
out of the theater. For beginning low-budget filmmakers, the trick
is knowing which indie cliches are merely annoying and which are
truly deadly.>>
Working
with Designers
You're a producer working with a first-time feature director, someone
whose last short film was shot in a dorm room. You're now producing
his or her feature, the first film the person hasn't had to do it
all - write, direct, edit, design - all by themself. To top it off,
your director is nervous and convinced that there's no one else
on earth who shares his or her vision. How do you strike up and
then develop a relationship with a production designer, one of your
film team's key personnel? How do you find the right person who
can develop a common language and work with your director to realize
that vision? >>
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