Podcast questions request! Contracts, professionalism, pitching, and pre-production!


(Bri Castellini) #1

This week I’m recording podcasts with guests @HackettKate and @Alex_LeMay, two community faves, as well as the entire Shipwrecked Comedy team! (That’s Sean and Sinead Persaud, Mary Kate Wiles, and Sarah Grace Hart!)

Topics:

Kate: Contracts and Professionalism

Alex: Pitching your web series

Shipwrecked: Pre-Production

Also, if you haven’t already, listen to the first3 episodes and subscribe for new ones every Tuesday!


(Bri Castellini) #2

@CommunityMVPs @w-e-spear @anyafs @threeminutesfast @hiamandataylor @mdec24 @anna.dunbar2 @Sunny @RDRICCI @StareableStaff @Deliver_Me_show @Ayelette @MelanieKingdom @ThrowBigWords @alandver @alwaysafilmgeek @EST111


(Jaime Lancaster) #3

Contracts:

  • Can I combine things into one? And how do you write a contract that isn’t condescending especially if there’s low/no pay?
  • What is deferred payment and how to you explain that in a contract?
  • What are the pillars of professionalism on a really low budget set?

Pitching:

  • Do you have to live in LA to pitch?
  • Do you need an agent to pitch? Do you need to pitch to them first?

(Bri Castellini) #4

Great questions, Jaime. Thanks!


(Ron Valderrama) #5

For contracts, I think it would be interesting to discuss what terms to look out for when negotiating with distribution companies like Gravitas or Cinedigm. Specifically things like taking costs out of revenue.

With @Alex_LeMay all you need to do is intro and let that mofo talk.


(Joseph Steven Heath) #6

I never know what I need contracts for and what I don’t. What are the different types of contracts you will need when filmmaking?

I find it hard to summarize my story. What are some tips for summarizing your story for a pitch? Should you have different pitches for different people (say pitching to an agent as opposed to a network/producer/etc.)?

How detailed should a storyboard be?


(Joseph Steven Heath) #7

How does one go about selling a script for a series or a movie?


(Blair Hunter) #8

Can you do contracts after you’ve already shot something? Is it ever too late for a contract?

How do you be professional if you have no money or budget? How do you act professional if you’re shooting in your own apartment?

Can you pitch if you’re still a student, or should you wait until you’ve graduated?

How do you location scout with no money?


(Melanie King) #9

Preproduction: So I just recently finished writing my first ever webseries, and although I’ve written other projects, this is the first thing I’ve ever actually wanted to produce and make come to life. Thus meaning I basically have 0 experience, outside of assistant and background work, to make this a real life living web series. I recently contacted someone who lives nearby who has done numerous projects to help me out. He says he’s down, and now I’m excited.

Here in lies my question: Again, like I said, I have NO experience working on a set so I’m not too too sure about what it is that needs to be done for preproduction. I have audition sides set aside, I already made a call sheet, and organized a sheet of the page numbers/ext or int shots/who’s in the scene/what props/wardrobe/ect…, but I don’t know what else to do! I really don’t want to just throw all responsibility to him because 1) It is my project and of course therefore my metaphorical child and 2) I don’t want to seem like I’m using him. I want to be useful, but I don’t know what it is I can do beforehand to be useful before he gives the %100 go ahead to work on this series with me. As well as I don’t know what it is I can do that doesn’t require previous know-how of camera work/lighting/among the finer details of film making.

Basically TLDR; How does one pretend to be a useful human being during preproduction when they have basically no prior experience on a film set.


(William E. Spear) #10

Might Jaime’s second point under Contracts be expanded to include details such as the amount of deferred compensation, paid over what period of time, and when the payment(s) are made.


(Amanda Taylor) #11

FOR SHIPWRECKED
Who runs your social media between shows//for campaigns etc (is it the same person)?
How is the work divided among you while producing?
How do you pay for your day-to-day aka what are your ‘day jobs’ and how are they effected when you get into preprod?

FOR ALEX
Is it best to pitch an idea (logline, script, treatment), have a proof of concept, a pilot, a finished show?