10 Steps To Becoming A Movie Mogul

1. Write Your Own Scripts-Be original and creative about your scripts. Become a critic of your films, and watch other films and become a critic of them as well. Remember to always put yourself in the place of a viewer and ask yourself, “Would I go see this movie twice?”
2. Solicit Others Scripts-Be willing to look at professional scripts of un-produced talent. There are millions of people who have written great scripts that others have not discovered or not willing to bother with films they think won’t bank millions in the box office.
3. Make Famous Friends-Know somebody who know some body, who knows somebody else in the business. Get them to mentor you or work with them and begin to create contacts that will pay off later in the game. Remember-working for free now may pay you a million dollar check later, so yes, the internship is definitely worth it.
4. Beg, Borrow, but don’t Steal-Don’t be afraid to ask for money for a film project that you believe is worth the investment. People will fund your project on your passion and zest for the project. If you believe your project will go far, then it will. Don’t steal, remember, what goes around comes around.
5. Produce Internationally-The overseas market is ripe for the picking. India, UK, Mexico and other international countries are willing to work with experienced writers, film producers, film crew and others who are willing to produce for their country. You may even be able to get your projects fully funded if you are willing to ride on a plane for 14hours.
6. Co-Op your crew-Have everyone be a partner in your film production company. Have people work for residual credit, on screen credit and food! This will save you lots of money up-front and will allow your crew to feel like they’re apart of the deal.
7. Keep your business in-house- As much as you can; write, produce, direct, and distribute your own films. As long as you have control over your film, you will have even more control over your financial future.
8. Stay classy not flashy-Once you start making money off your first film, re-invest in another film. Stay conservative and continue to shop at Target and Walmart. The more industry productions you reinvest in the more you will see your bottom line grow.
9. Continue To Be Versatile-Once you have established yourself as a film producer, don’t pegion-toe your films into one genre. Be creative with your films and continue to surprise your viewing audience with a variety of film choices.
10. Give Back-Once you have arrived to the place you have always wanted to be in the film industry give back to your craft and help others become mini film moguls. Open studios, create film and acting classes, and help the youth write, produce and direct their own films. Kudos, your a film Mogul!

How To Become A Film Distributor

How Movie Distribution Works

Source: How Stuff Works

You have probably seen advertisements in your local paper for movies playing at a theater near you. Sometimes, the ad will say “Held over” or “Special engagement.” What exactly does that mean? And just how do those movies get from the motion picture studio to the theater?

In this aricle, you’ll see the path of a film from an idea in someone’s head to a movie screen at your local multiplex. You’ll learn what the “nut” is, find out the difference between negotiating and bidding, and finally understand why movie popcorn is so expensive!

Here’s the path a film usually takes to get to your local theater:

• Someone has an idea for a movie.
• They create an outline and use it to promote interest in the idea.
• A studio or independent investor decides to purchase rights to the film.
• People are brought together to make the film (screenwriter, producer, director, cast, crew).
• The film is completed and sent to the studio.
• The studio makes a licensing agreement with a distribution company.
• The distribution company determines how many copies (prints) of the film to make.
• The distribution company shows the movie (screening) to prospective buyers representing the theaters.
• The buyers negotiate with the distribution company on which movies they wish to lease and the terms of the lease agreement.
• The prints are sent to the theaters a few days before the opening day.
• The theater shows the movie for a specified number of weeks (engagement).
• You buy a ticket and watch the movie.
• At the end of the engagement, the theater sends the print back to the distribution company and makes payment on the lease agreement.

Some of these steps may be combined and, particularly in the case of small independent films, additional steps may be necessary. As you can see, there is a lot that goes on before a movie is ever shown to a paying audience!

How To Get A Great Agent!

HOW TO GET A GOOD AGENT

by Gini Graham Scott, Ph.D., J.D.

www.CreativeCommunicationsResearch.com

Are you looking for an agent for books or scripts? Are you having trouble finding one you like? Join the club. This is one of the most common complaints of writers, including long-time professional writers. Even writers who have had agents may be looking for another one, or have different types of writing projects better handled by another agent.

This article will help you find and select an agent, including how to best contact an agent initially and what to send when you provide additional information, such as a nonfiction proposal, fiction manuscript, children’s book, or screenplay treatment or full script.

Selecting an Agent

Some considerations to keep in mind when choosing the agent that’s best for you are:

- Types of books handled. Most agents handle multiple types of books, but some agents specialize. It can be useful to choose an agent who handles several types of books if you have different types of writing projects, or you may prefer to divide up different types of books with different agents, if the agents agree. In some cases, agents will handle other types of projects for clients, but only when they are handling the client for their primary area of emphasis. (Most commonly this occurs when the agent represents you for non-fiction and additionally takes on fiction, children’s books, or scripts). Check on what types of manuscripts the agent handles to decide what’s best for you.

- Film and TV rights. Most agents now handle film and TV rights for projects they represent – generally through a rep in Hollywood, LA, or on the West Coast, though some handle the rights themselves. Should you want an agent specializes in film and TV rights, look for an agent who is a member of the Writers Guild of America (WGA), since many producers, production companies, and studios will only deal with WGA agents. You can find these agents listed on the WGA Web site, and the Hollywood Creative Director at www.hcdonline.com also has a directory which comes out twice a year which features agents and managers. It is one of the sources we use ourselves in creating our database of film agents and managers.

- Foreign reps and rights. Most agents handle foreign rights, generally through a subagent or group of subagents, although some handle these rights themselves. Should you want to know the specific foreign reps which different agents have, these listings for many agents are in the Literary Marketplace, available in a hard copy which comes out in late November each year or on line.

- Location. Do you want an agent who is near you – or one who is near the publishers if you live out of the major publishing centers, which are in New York City (especially for mainstream commercial books), Los Angeles (especially for projects with film and TV potential), and the San Francisco Bay Area (especially for more targeted smaller audience and independent books)? Generally, it is best to get an agent in the major centers, especially in New York, New Jersey, Connecticut, Massachusetts, and Washington, D.C. on the East Coast or California on the West Coast. Within these states, it is best to have an agent who is close to these major publishing centers. Still, many agents do extensive traveling and some have relocated from these centers, so they may still be well connected. Then, too, if you like having more face-to-face contact with your agent, you may prefer one in your area.

- Size of Agency. While many agents are independent or work in small agencies, others are part of large agencies or affiliations of agents, such as William Morris, International Creative Management, and Writers House. While a big name affiliation can help even new agents gain clout, many independent agents or agents in smaller agencies have excellent reputations and have sold big books. While you can initially query more than one agent in an agency, since not all agents will be interested in the same project, if more than one expresses interest, you have to decide which one to follow-up with in sending additional material. You can also say that you weren’t sure who to contact to explain why you contacted more than one agent in the same agency. This multiple contact approach works better when you are sending e-mails, since this is a more informal type of initial contact. But if you are sending a query by regular mail, it is better to pick one agent to query first; then if you have no response in a couple of weeks, try a second agent at that agency.

Production Company E-mail list

Film Production Company E-mail List

Please note this e-mail list is used for reference only

DT Productions has no claim or connection to the companies listed

You are free to contact at your own will.

3 Ring Circus Films
filmcircus@aol.com

3am Pictures
query@3ampictures.com

3rd Coast Digital Films, Inc.
Coastfilm@aol.com
www.3cdf.com

AC Works
acwrks@aol.com

Action America Entertainment
actionamerica@bigfoot.com

Addis Films, Michael
mikeaddis@loop.com

http://www.geocities.com/hollywood/2920

AEI-Atchity Edit./Ent. Intl. Inc.
webaei@aol.com

http://www.aeionline.com

Affrime Productions, Mindy
minaffrime@aol.com

A-films
datk@aol.com

Film Industry Query Letter Tips

10 Query Letter Tips

Source: 750 Film Production Company

Be professional — not casual

Find out company’s submission policy

Do NOT e-mail entire screenplay

Be brief! 50 words or less

Be concise. Don’t ramble

Do not include attachments (unless told to)

Check your spelling. Avoid all CAPS!

Query includes: Title, Genre, Synopsis

Be patient! These folks are busy.

Don’t forget your contact info

Start Your Film and Video Career

Source: All Arts Schools

Working in the film and video industry can be like playing a high-stakes game of Six Degrees of Kevin Bacon. Everyone connects to everyone else in one way or another. Figuring out the connections—and where you can fit into it all—is the tricky part.

Networking is essential in your film and video career. The better connected you are, the more in-demand you’re likely to be. Luckily, finding these connections may be easier than you think. Here are a few places to begin:

Film Festivals and Events
Who’s the next big thing? (Besides you, of course.) Film festivals and industry events can be great places to discover new trends and new faces in the business. You can make connections with established veterans and up-and-comers.

Film School
Establish relationships with teachers and peers, and keep in touch. They may have contacts in the industry that you don’t have. Besides, you never know where your classmates will be in the future. It’s entirely possible that someday they’ll be working on a project that will need your expertise.

On Set
If you want to expand your network within the film industry, who better to help you than your co-workers? When working on a project, socialize with the crew. You can make a lot of helpful connections that could possibly lead to future jobs. Be the kind of co-worker everyone wants to have, and you may find that your peers are some of the best resources you can find.

Professional Associations
Perhaps joining a professional association seems obvious. A room full of knowledgeable film and video professionals looking to network with each other and with you? Go sign up, if you haven’t already. What do you have to lose?

Of course, knowing where to look for contacts is only part of the picture. Successful networking is a social game. You’ll want to make sure that your social skills are polished and at the ready. As you start your film and video career, keep the following tips in mind:

Ask for advice.
When you meet professionals in the film and video industry, don’t be afraid to ask for their advice. It’s good to be respectful of their busy schedules, but you’ll never know if they have a few minutes to talk unless you ask.

Help others.
Put in a good word for someone else when you have a chance. It’s not just good karma. They’ll remember you, and perhaps someday they’ll be in a position to return the favor. The film and video industry is tough. It’s good to have allies.

Keep in touch.
Don’t let a good contact go. Networking is not just about making friends—it’s also about keeping them. That takes a little work. But it’s worth it.

All the networking in the world may do little good if you don’t have something to show for yourself. Your demo reel should show your best work to date. It should advertise your skills to potential employers.

Not sure what makes a demo reel successful? Here are a few quick tips:

Keep it short and sweet.
Time is money. No one wants to watch a feature length demo. Keep it around 1-2 minutes.

Put your best stuff first.
You only have a few seconds to capture the attention of your prospective employers. Make sure they’ll see your best and/or most relevant work up front.

Be prepared. Prepare a demo reel before someone asks to see it ASAP. This is the first impression people will have of you. You don’t want it to look slapped together. While you’re at it, make more than one version for different kinds of jobs.

Don’t get carried away with effects.
Even if you’re highly skilled with special effects software, prospective employers will still want to see if your work has the substance to back up the effects.

Pitches Of The Day 9-18-08

Alright folks here they are.

Brain Life

Logline: A Military science experiment on the human brain derived from human steam cells goes bad when the brain is accidentally injected with bio-checimal hazardous waste liquids that turns the brain into a deformed species of human that feeds on vital human body parts to maintain its life.

Doozee

Logline: A chemically advanced lab rat name, “Doozee,” is on a mission to find a cancer saving cure for a little girl who befriends him while on a tour of the research lab.

Measure Of A Man

Logline: An upscale Wall Street Stock Broker marries a mysterious Chinese woman to save her from execution against Chinese mob bosses.

Down For 1

Logline: A group of deaf hip-hop dancers rejected at a local competition, fight their way to the Dance-Off National Championships to take home the gold.

***********These Pitches were created by DT Productions-Author-Talia Moore All Names and Rights Reserved ***************

Pitches Of The Day 9-17-08

Alright folks here is the Pitches of the day:

Sunday Night’s Dinner

Logline: A dedicated Sunday dinning family receives a call that a close family member has one week to live. With Newton’s Law against them will their dying family member make it to a final Sunday Night’s Dinner.

Peakalow

Logline: A orphans luck changes when she wishes upon a time sand bottle that allows her to travel through time to find her parents.

No Class

Logline: A pompous prince is found to have a blood line from a lower class family. Forced to live the simple life, will this prince’s pride take over or will he take pride in his poor heritage?

By Candle Light

Logline: A woman sees the man of her dreams in the shadow of a candle light, she searches the city to find the faceless heartthrob, will she like what she sees when she finds him?

***********These Pitches were created by DT Productions-Author-Talia Moore All Names and Rights Reserved ***************

The Biz On Bollywood!

So what’s the biz on Bollywood? Does Hollywood have International Competition? Where did Bollywood come from? So what is Bollywood? According to Wiki, Bollywood is the following;

Bollywood is the informal term popularly used for the Mumbai-based Hindi-language film industry in India. The term is often incorrectly used to refer to the whole of Indian cinema; it is only a part of the Indian film industry.^[1] Bollywood is the largest film producer in India and one of the largest in the world.

The name is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a real physical place. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it seems likely to persist and now has its own entry in the Oxford English Dictionary.

Bollywood is commonly referred to as Hindi cinema, even though “Hindustani“, understood as the colloquial base common to both Hindi and Urdu, might be more accurate. There has been a growing presence of Indian English in dialogue and songs as well. It is not uncommon to see films that feature dialogue with English words and phrases, even whole sentences. There is a growing number of films made entirely in English.

Can you believe that even Hollywood has gone Bollywood! With the emergence of Cheetah Girls One World and Nickeloden’s Wonder Pets, Bollywood has become a curious wonder for movie makers and enthuist.