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by ________________________________________________
By Jason P. Brubaker
2010 Brubaker Unlimited LLC 6767 Sunset Blvd. #153 Los An eles! CA "002# $%one& 310'7(6'3#6# www.FilmmakingStuff.com
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The A&&i iate re(o''en#s pro#u(ts an# ser"i(es in this eBook base# in part on a goo# &aith be ie& that the pur(hase o& su(h pro#u(ts or ser"i(es -i he p rea#ers in genera . The A&&i iate has this goo# &aith be ie& be(ause (a) the A&&i iate has trie# the pro#u(t or ser"i(e 'entione# prior to re(o''en#ing it or (b) the A&&i iate has resear(he# the reputation o& the Pro"i#er an# has 'a#e the #e(ision to re(o''en# the Pro"i#erAs pro#u(ts or ser"i(es base# on the Pro"i#erAs history o& pro"i#ing these or other pro#u(ts or ser"i(es. The representations 'a#e by the A&&i iate about pro#u(ts an# ser"i(es re& e(t the A&&i iateBs honest opinion base# upon the &a(ts kno-n to the A&&i iate at the ti'e this eBook -as #istribute# by the A&&i iate. Be(ause there is a 'ateria (onne(tion bet-een the A&&i iate an# Pro"i#ers o& pro#u(ts or ser"i(es 'entione# in this eBook) you shou # a -ays assu'e that the A&&i iate 'ay be biase# be(ause o& the A&&i iateAs re ationship -ith a Pro"i#er an#Cor be(ause the A&&i iate has re(ei"e# or -i re(ei"e so'ething o& "a ue &ro' a Pro"i#er. Per&or' your o-n #ue #i igen(e be&ore pur(hasing a pro#u(t or ser"i(e 'entione# in this eBook. The type o& (o'pensation re(ei"e# by the A&&i iate 'ay "ary. =n so'e instan(es) the A&&i iate 'ay re(ei"e (o'p i'entary pro#u(ts) ser"i(es) or 'oney &ro' a Pro"i#er prior to 'entioning the Pro"i#erAs pro#u(ts or ser"i(es in this eBook. =n a##ition) the A&&i iate 'ay re(ei"e a 'onetary (o''ission or non+'onetary (o'pensation -hen you take a(tion by ( i(king on a hyper ink in this eBook. This in( u#es) but is not i'ite# to) -hen you pur(hase a pro#u(t or ser"i(e &ro' a Pro"i#er a&ter ( i(king on an a&&i iate ink in this eBook. EAR I "S A D I COME DISCLAIMER o Ea#ning$ P#o%ec&ion$' P#o(i$e$ o# Re)#e$en&a&ion$ 0or purposes o& this #is( ai'er) the ter' Author re&ers in#i"i#ua y an# (o e(ti"e y to the author o& this eBook an# to the a&&i iate (i& any) -hose a&&i iate inks are e'be##e# in this eBook. @ou re(ogni/e an# agree that the Author has 'a#e no i'p i(ations) -arranties) pro'ises) suggestions) pro?e(tions) representations or guarantees -hatsoe"er to you about &uture prospe(ts or earnings) or that you -i earn any 'oney) -ith respe(t to your pur(hase o& this eBook) an# that the Author has not authori/e# any su(h pro?e(tion) pro'ise) or representation by others. Any earnings or in(o'e state'ents) or any earnings or in(o'e e,a'p es) are on y esti'ates o& -hat you might earn. There is no assuran(e you -i #o as -e as state# in any e,a'p es. =& you re y upon any &igures pro"i#e#) you 'ust a((ept the entire risk o& not #oing as -e as the in&or'ation pro"i#e#. This app ies -hether the earnings or in(o'e e,a'p es are 'onetary in nature or pertain to a#"ertising (re#its -hi(h 'ay be earne# (-hether su(h (re#its are (on"ertib e to (ash or not). There is no assuran(e that any prior su((esses or past resu ts as to earnings or in(o'e (-hether 'onetary or a#"ertising (re#its) -hether (on"ertib e to (ash or not) -i app y) nor (an any prior su((esses be use#) as an in#i(ation o& your &uture su((ess or resu ts &ro' any o& the in&or'ation) (ontent) or strategies. Any an# a ( ai's or representations as to in(o'e or earnings (-hether 'onetary or a#"ertising (re#its) -hether (on"ertib e to (ash or not) are not to be (onsi#ere# as <a"erage earnings<. Te$&i(onial$ & E*a()le$ Testi'onia s an# e,a'p es in this eBook are e,(eptiona resu ts) #o not re& e(t the typi(a pur(haser>s e,perien(e) #o not app y to the a"erage person an# are not inten#e# to represent or guarantee that anyone -i a(hie"e the sa'e or si'i ar resu ts. Dhere spe(i&i( in(o'e or earnings (-hether 'onetary or a#"ertising (re#its) -hether (on"ertib e to (ash or not)) &igures are use# an# attribute# to a spe(i&i( in#i"i#ua or business) that in#i"i#ua or business has earne# that a'ount. There is no assuran(e that you -i #o as -e using the sa'e in&or'ation or strategies. =& you re y on the spe(i&i( in(o'e or earnings &igures use#) you 'ust a((ept a the risk o& not #oing as -e . The #es(ribe# e,perien(es are atypi(a . @our &inan(ia resu ts are ike y to #i&&er &ro' those #es(ribe# in the testi'onia s. The Econo(+ The e(ono'y) both -here you #o business) an# on a nationa an# e"en -or #-i#e s(a e) (reates a##itiona un(ertainty an# e(ono'i( risk. An e(ono'i( re(ession or #epression 'ight negati"e y a&&e(t your resu ts.
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You# Succe$$ o# Lac, of I& @our su((ess in using the in&or'ation or strategies pro"i#e# in this eBook #epen#s on a "ariety o& &a(tors. The Author has no -ay o& kno-ing ho- -e you -i #o) as he #oes not kno- you) your ba(kgroun#) your -ork ethi() your #e#i(ation) your 'oti"ation) your #esire) or your business ski s or pra(ti(es. There&ore) he #oes no& guarantee or i'p y that you -i get ri(h) that you -i #o as -e ) or that you -i ha"e any earnings (-hether 'onetary or a#"ertising (re#its) -hether (on"ertib e to (ash or not)) at a . Businesses an# earnings #eri"e# there&ro' in"o "e unkno-n risks an# are not suitab e &or e"eryone. @ou 'ay not re y on any in&or'ation presente# in this eBook or other-ise pro"i#e# by the Author) un ess you #o so -ith the kno- e#ge an# un#erstan#ing that you (an e,perien(e signi&i(ant osses (in( u#ing) but not i'ite# to) the oss o& any 'onies pai# to pur(hase this eBook an#Cor any 'onies spent setting up) operating) an#Cor 'arketing your business a(ti"ities " an# &urther) that you 'ay ha"e no earnings at a (-hether 'onetary or a#"ertising (re#its) -hether (on"ertib e to (ash or not). Fo#wa#-.Loo,ing S&a&e(en&$ Eateria s in this eBook 'ay (ontain in&or'ation that in( u#es or is base# upon &or-ar#+ ooking state'ents -ithin the 'eaning o& the se(urities itigation re&or' a(t o& 7998. 0or-ar#+ ooking state'ents gi"e the Author>s e,pe(tations or &ore(asts o& &uture e"ents. @ou (an i#enti&y these state'ents by the &a(t that they #o not re ate stri(t y to histori(a or (urrent &a(ts. They use -or#s su(h as anti(ipate) esti'ate) e,pe(t) pro?e(t) inten#) p an) be ie"e) an# other -or#s an# ter's o& si'i ar 'eaning in (onne(tion -ith a #es(ription o& potentia earnings or &inan(ia per&or'an(e. Any an# a &or-ar# ooking state'ents here or on any 'ateria s in this eBook are inten#e# to e,press an opinion o& earnings potentia . Eany &a(tors -i be i'portant in #eter'ining your a(tua resu ts an# no guarantees are 'a#e that you -i a(hie"e resu ts si'i ar to the Author or anybo#y e se) in &a(t no guarantees are 'a#e that you -i a(hie"e any resu ts &ro' the Author>s i#eas an# te(hni.ues &oun# in this eBook. Pu#cha$e P#ice A though the Author be ie"es the pri(e is &air &or the "a ue that you re(ei"e) you un#erstan# an# agree that the pur(hase pri(e &or this eBook has been arbitrari y set by hi'. This pri(e bears no re ationship to ob?e(ti"e stan#ar#s. Due Diligence @ou are a#"ise# to #o your o-n #ue #i igen(e -hen it (o'es to 'aking business #e(isions an# shou # use (aution an# seek the a#"i(e o& .ua i&ie# pro&essiona s. @ou shou # (he(k -ith your a((ountant) a-yer) or pro&essiona a#"isor) be&ore a(ting on this or any in&or'ation. @ou 'ay not (onsi#er any e,a'p es) #o(u'ents) or other (ontent in this eBook or other-ise pro"i#e# by the Author to be the e.ui"a ent o& pro&essiona a#"i(e. The Author assu'es no responsibi ity &or any osses or #a'ages resu ting &ro' your use o& any ink) in&or'ation) or opportunity (ontaine# in this eBook or -ithin any other in&or'ation #is( ose# by the Author in any &or' -hatsoe"er.
YO! S/O!LD ALWAYS CO D!CT YO!R OW I 0ESTI"ATIO 1PERFORM D!E DILI"E CE2 BEFORE B!YI " PROD!CTS OR SER0ICES FROM A YO E 0IA T/E I TER ET. T/IS I CL!DES PROD!CTS A D SER0ICES SOLD 0IA /YPERLI 3S EMBEDDED I T/IS EBOO3.
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filmmaking process. Also study internet marketing. A good place to start is www.filmmakingstuff.com
2. Write or acquire a screenplay you want to
produce.
3.
o an initial breakdown! schedule and budget of the pro"ect. #ow much does it cost$
money strategy.
). *ollowing the law! go after the money. (his will
is going to be spent! what they can e.pect in return and how will you eventually get their money back. *ilmmaking is a risky business! full of unknowns and you should never sugar coat the potential risk involved in this business.
Will you take the festival route$ Will you market it to colleges and universities$ Will you send it directly to sales agents and acquisition pros$
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are some 2but not all3 of your options. A. 4hoose a new pro"ect. 5. Alter the screenplay to cut costs.
11. 6et more favors and freebies. 12. Assuming you did get the money! pick a date
for production.
13. #ire a lawyer to help you with contracts and
releases. 1f you7re short on cash! do a web search for lawyers for the arts in your state.
free! e.pect a lot of 9no7s: before you find the right fit for your show.
1'. ;ou can make your "obs easier if you find
you aren7t going to keep changing things. =nce you get to this point! consider it a locked script.
1+. >umber your scenes. (hen break down your
final budget. ;ou probably know how much money you have to work with. 1f you find you don7t have enough you have two choices? A. 6et -ore -oney@ 5. -odify the script and schedule.
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seasoned Ahysical Aroducer B &ine Aroducer B Aroduction -anager to help you get organi<ed. (hese folks will probably look at your schedule and tweak it.
20. Additionally! if you7re going to direct and
product! having these folks around to help out will open the door to relationships with 1st A s and crew. (hese folks will help you hire the right people. (hey may also know a thing or two about ta. credits in your state. (his could be invaluable@
locations scout! you7re going to have to scout and procure locations yourself. (his means you7ll knock on some doors and introduce yourself! your pro"ect and your goals.
22. 1t is at this point when 1 warn you C what
can go wrong with a location probably will. 8o you will want to have a 2nd and 3rd location added to the mi.. (his way! should something happen! you7ll have a fallDback plan. you might find a director of photography who shares your sensibilities and has equal enthusiasm for the pro"ect.
2%. ;our
A will help you design a look and mood for your movie. 6iven your cost constraints! you7ll most likely shoot in # .
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2010 Brubaker Unlimited LLC All rights reserved worldwide. No part of this ebook ma be !opied or sold. www.filmmakingstuff.com
your movie. -ake sure you have a way to get site visitors on your mailing list. #ave a place for press! so that they can download your press kit and materials.
2). (hen as you get into production! you will be
able to add a movie trailer. 21ncrease the si<e of your mailing list and establish a website you can later modify into a sales funnel.3
talented actors interested in your pro"ect and working with you. ;ou7ll have to work out a deal with these folks. &A and >;4 offer various websites that help producers find actors. 5ut if you7re in rural G8A! you might have some difficulty with these options. 1 suggest partnering with local university drama departments and local theaters to fulfill your casting requirements.
2,. =nce you have all of your actors! you will
want to find a location for a table read. 6o through the script. 1f you wrote it! now is a time to take some notes for a final tweak. Hust know C anything you change in the script also changes the budget and the schedule.
someone in charge of 4raft 8ervices. (hey should be good at going out and getting deals on food and catering. 1f you can not find anyone to do this for you! youIll have to do it yourself.
2010 Brubaker Unlimited LLC All rights reserved worldwide. No part of this ebook ma be !opied or sold. www.filmmakingstuff.com
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doing a union shoot! there are guidelines and rules you must follow. 1f youIre doing a nonD union indie! then some advice is? =>I( 6F( 4#FAA@ 6F( JGA&1(;@
31.
o you have all of your permits! releases! location agreements$ o you have production insurance$ (here are so many different types of insurance! it will make your head spin. -ake sure you talk with some e.perienced professionals to make sure you have adequate insurance for your movie. epartment and find out how much tape stock youIll need 2assuming you7re shooting in # 3. 1f youIre shooting film! which might be costly for your first feature C youIll want to have an idea of these needs too.
3%. =nce you have all the above stuff checked off
the list! youIll want to meet with your department heads and make sure everyoneIs needs are being met. Assuming youIve maintained limited locations! with a limited cast and crew! you will probably still be baffled by the amount of questions that come flying at you.
3'. 8eriously! you would think youIre making a
ga<illion dollar movie. 5ut this is indication people care about their work. (hey care about the movie. And they want to make it a success.
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2010 Brubaker Unlimited LLC All rights reserved worldwide. No part of this ebook ma be !opied or sold. www.filmmakingstuff.com
8eriously! youIre making a movie. 1tIs a real accomplishment and itIs one of those great things you can do in life. 1n fact! itIs quite awesome. 8o push forward. F>H=;@
3+.
3/.
uring production! try to constantly get press to profile your movie. 1t would be great to create bu<<! get people to your website and get them to opt into your newsletter mailing list. onIt sleep with anybody or get drunk or make a fool of yourself@ ;ouIre a professional. Act like one. probably start editing the movie. 1 suggest sharing the edit suite with another set of eyes.
group of people who have never seen the movie. 6et feedback.
%3. (ake the feedback and refine your edit. After
that! take a week off C donIt look at the movie or play around with it. (hen! when you come back to the suite! refine and refine again.
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who have never seen the movie. (ake notes. (hen take those notes back to your edit suite.
%'. Add some sound *K to your movie. 4lean up
actor dialogue and rough areas. Remember! audio is often more important than visual.
then you can begin to plan your ne.t strategy. *or e.ample! will you go to film festivals$ (hen you should have a target list in mind.
traditional distribution. With some qualified professionals! analy<e the deal. *ind out if the deal will fit your business ob"ectives! if not! move on to the ne.t deal.
%/. What if there are no deals$ #opefully you
have a strong mailing list! a marketable hook and a plan for reaching your target demographic.
funnel hub. Gpload your movie to one of the many L= sites and refine your movie poster and artwork. 2(o sell your movie via L= ! check out www.MovieSalesTool.com3
'1. Also! upload your trailer to ;ou(ube and all
the other video sites on the internet. 1 prefer to stream from ;ou(ube because 1 donIt have to pay the streaming bandwidth.
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2010 Brubaker Unlimited LLC All rights reserved worldwide. No part of this ebook ma be !opied or sold. www.filmmakingstuff.com
your movie. #ave a blog component that details your movie and allows other people to comment.
'3. Alay around with your key words and 8earch
= >=( 8AA-@@@
for your movie. (he purpose of this page is to lead people back to your site. tweet about your movie.
people back to your website. (he purpose of your site is to get people to watch your movie trailer and click the 5G; >=W button. Anything that distracts these visitors must go@
)0. 1f they donIt click! then at least try to get
)1. =ut of all the people who click the 5G; >=W
2010 Brubaker Unlimited LLC All rights reserved worldwide. No part of this ebook ma be !opied or sold. www.filmmakingstuff.com
"umpD start your ne.t pro"ect. And you will reali<e that making movies and making money making movies is possible.
)%. (ips from the trenches? =n average it takes +
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2010 Brubaker Unlimited LLC All rights reserved worldwide. No part of this ebook ma be !opied or sold. www.filmmakingstuff.com
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