SHE LOVES ME NOT #10 (in the hands of angels)

 My business plan has gone out to the three potential investors I've had in mind all along.  I'd say "now it's just a waiting game," but somehow that doesn't ring true.  It doesn't feel right.  I'm sensing the necessity to move on, to move forward - as if these first three tries are only the beginning.  I'm sensing this might take awhile.  This has always been the point where things come to a halt.  All this momentum, and then comes the quicksand of trying to obtain the financing.  I've done all I can - I think - in terms of developing the plan - all I can do now is to keep trying to get it into the hands of individuals or groups who are willing and able to finance the project.  It's the information age, and I sought more information regarding where one might possibly go to get money for an independent film.  I learned about people who call themselves "angel investors."  The term is self-explanatory.  Where else are you going to get money at this point aside from an angel?  These are people with an interesting mix of  money, faith, philanthropy, and gambling spirit who are able to afford a high-risk venture - people who will be (fingers crossed) willing to take a chance on my claim that I will deliver.  So that has become my present mission.  There are lots of sites on the internet that represent groups of angel investors as well as individuals.  So now it's just a matter of narrowing it down to the legitimate ones (no big shock, but there are some unscrupulous, "fallen" angels out there) and then presenting my project.  

SHE LOVES ME #9 (buona fortuna)

 O.K., so I'm not used to good fortune when it comes to reaching out to people outside my sphere of influence, but this time it works!  I get a response from the first Casting Director I contact, who has a boat-load of indie credits, and has worked with lots of "name" actors, and she wants to read the script!  She gets back to me with a lot of helpful advice, information, and suggestions, and I end up re-writing the script (shortening it significantly,) re-calculating, re-budgeting, re-scheduling, etc. which takes me several weeks, but I'm happy with the results.  The script is tighter - everything is tighter and seems a lot more do-able.  She recommends I shoot four weeks in August (of this year!) - and with the shortened schedule, I see where it's feasible.  But I'm still missing one piece of the plan - I wanted to attach an actor to the project before I approach my potential investors.  That was the primary reason for my contacting a Casting Director.  But this particular one that I have been happily communicating with requires a signed contract and partial payment before she can go to work!  Another Catch 22!  I need a Casting Director to get an actor attached in order to obtain financing, but I need the financing in order to pay the Casting Director!  O.K. I have to come up with yet another plan B.  I ask the CD if I can attach her name to the project instead of an actor - which I think will have the same appeal if not more.  I'm hoping that my potential investors will see the wisdom and logic in the fact that with the financing in place, I will be able to employ the services of a world-class CD with access to lots of "name" actors.  I will definitely get an actor attached!  But I can't move ahead with this plan B - use the CD's name - without her permission.  I send another email and nervously await a response.  A few days pass, and I compose a follow-up email.  I sign onto to Yahoo mail, about to send the follow-up, and there is her response!  In the affirmative!  So now I'm waiting for my attorney to finish up a couple of legal documents for the investors, and then I'm going for it!

SHE LOVES ME NOT #8 (casting directors)

My attorney has made a few phone calls to talent agents and has been subjected to less-than-polite behavior.  Rude people in Hollywood!  What a shock!  Of course I'm sure the big agencies out there are inundated with phone calls from every wanna-be filmmaker around the globe, and that has to be a drain on anyone's good manners, but my magnanimous attitude isn't going to get the film made.  Weeks keep rolling by without much progress.  I'm pretty sure this year's window of opportunity has already been shattered in terms of shooting this spring or summer, but since I will be most accommodating when it comes to actors' availability, I will not rule out the possibility of shooting in early winter.  I would need to avoid the fall - due to the changing of the leaves causing continuity problems - but after the leaves fall, I'd be willing to shoot.  So sitting at my computer, gazing out the window, tapping my fingertips on the desktop with a combination of frustration and mild desperation, I try to come up with a plan to move things along.  I don't know if the direct approach is going to work out - that is - having my attorney directly contact the big talent agencies.  Maybe I should try the Casting Director approach - something I've been considering all along (I already have money in the budget for a CD.)  I Google "Casting Directors," and of course there is a shit-load of info about CD's.  I start reading articles and forums and become convinced that a CD could be the answer.  CD's have all the right connections.  Agencies are much more receptive to CD's.  CD's can make it happen.  Why didn't I go with a CD to begin with?  Oh, wait a minute.  I don't have any money yet.  I can't pay them to find talent, but I need talent to get the financing!  Catch 22!  What the hell!  All I need is a letter of intent!  Is that something they can do without getting paid?  In exchange for a promise to employ them as the CD if I get the financing?  Do they work that way?  Am I being totally naive?  Only one way to find out.  I'll try contacting one CD to see what kind of response I get.  I start making a list of CD's that might be interested in my project - based on similar films and budgets.  I choose one, and then I compose an email with all of the pertinent info, and I click "send."  Stay tuned for further developments!  

SHE LOVES ME #7 (talent scout)

 O.K. the new year and the new push is under way.  I met with my attorney yesterday and he is going to begin calling actors' agents on my behalf.  I thought having my attorney make the phone calls would indicate a certain seriousness and professionalism on my part, and then if the actors' reps or the actors themselves want to talk to me, then of course I'll take it from there.  This is a critical step in the process - a letter of intent from any of the actors on my list will definitely boost the appeal for potential investors.  I recently re-upped my streaming service on NetFlix in order to watch some of the comps on my business plan and to check out some of the actors on my list.  I watched a couple of great films with Maria Bello, Charlize Theron, and a few other actors whom I would consider to be top choices for the leading role of Kim Claypoole.  At times I let my imagination get the best of me - I imagine what it would be like to actually work with some of the fine actors I have in mind.  These are highly rated actors who have worked with some of the greatest names in the business, and sometimes I wonder what they'll think of working with me, and working in this area on a very low budget film.  Although it's a bit intimidating, it's also very exciting, and I know if given the opportunity, I'll rise to the occasion!  Another interesting development is the fact that I recently downloaded the new Final Cut Pro X editing software.  I am so impressed with this technology - it's extremely sophisticated, yet very user-friendly.  I bought it specifically for use on an upcoming job that will require multicam editing, so I've been working with it in preparation.  It accepts just about every recording format out there including RED Raw - which is the format we'll be using for SHE LOVES ME, so now I'm considering doing at least a rough cut of the edit myself - if not something closer to a finished cut - but that's all yet to be determined.  So - I've sort of temporarily handed the reins over to my attorney, and I have high hopes that he'll be calling me in the very near future with news of a letter of intent on the way!

SHE LOVES ME NOT #6 (the year of the movie)

So here I am, nearing Christmas, all alone in my house on a Friday night.  Well, not totally alone.  My son's little doggie, Vannie, is with me.  We call her our granddoggie because we don't have any grandkids yet, and so little Vannie is working out nicely as a placeholder.  Anyway, me and my little furry buddy are hangin' on this chilly Friday.  My wife is in Japan visiting my son, who is studying Asian Studies in school.  This will be the first Christmas in 30 years that my wife and I will not spend together.  It's only been a couple of days since she left, and I'm already starting to act a little weird - talking to myself and what have you.  I don't know what to do with myself.  My acting classes are on hold for a week, and I don't have any production work at the moment, which is typical for this time of year, so it feels like I have a lot of free time.  I do actually have a big production job coming up in January that I'm preparing for - I bought a new computer and the new Final Cut Pro X that I'll use to edit, and I've been going through all the YouTube tutorials in my attempt to reduce the severity of the learning curve, so that's been occupying some of my time.  I'm also trying to be productive in other, more domestic ways as well.  I put in a new ceiling light in one of the upstairs bedrooms, and I changed the oil on my wife's car.  I even cleaned out all the tiny little dead bugs inside our porch lights.  It's the evenings that seem to pass slowly - the time when my wife and I are usually seated on our couches in the family room - first having cocktails and discussing the events of the day, and then shortly thereafter, getting mad at the evening news as we eat dinner.  As a feeble attempt to fill that void, I re-activated Netflix the day my wife left for Japan, so I've watched a few movies.  Watching new indie films inspires me to push forward with mine.  The business plan is finally completed, and it looks impressive.  The next big step is getting a name actor to sign on, or at least provide a letter of intent.  Apparently this is the magic elixir that will boil and bubble down the throats of all the monsters out there trying to thwart my plans and turn them into harmless toads and pussycats.  Without a name, according to the consensus, no one is going to be interested in my film (even though no one heard of Jennifer Lawrence in the Academy Award nominated WINTER'S BONE, and there are no "names" in the highly successful PARANORMAL ACTIVITY franchise, and I can cite countless other films without name talent that were quite successful as well, so once again, the consensus is not necessarily the definitive.)  Nevertheless, I do want to use a recognizable actor because I do believe it will greatly improve investor interest and marketability.  I have several actors in mind, and after the holidays, my attorney is going to start making phone calls to agents.  In addition to the talent quest, I must engage and consume the next two servings on my proverbial plate.  The author of the business plan is recommending that I employ the services of a Producer's Rep who can, according to said author, help immensely with procuring distribution outlets both home and abroad, but according to my research, it seems not all Producer's Reps are on the level!  Some of them are greedy, self-serving-con-men-sons-a-bitches!  Imagine that!  Unscrupulous people in the motion picture industry!  And with the advent of non-traditional distribution platforms, many indie-minded opinions I've read suggest you don't need someone else to peddle your film!  You can avoid the pitfalls of going with a Producer's Rep!  You can DIY!  Sell dvd's from your own website!  Make your own deals with digital download companies!  So now I have even more conflicting opinions to sort through before I can make a decision.  But the more I read about the arguments for and against Producer's Reps, the more I keep reading about the second item on my plate - completion bonds.  A completion bond would of course be attractive to an investor involved with the risky business of indie filmmaking.  With a completion bond, the investor is guaranteed the film will be completed - not that it will make money and their investment returned, mind you, but simply that the film will be completed as proposed in the plan.  The problem I have with a completion bond (other than the expense) is the fact that if you happen to fall behind in the schedule, or begin to go over budget, the bond company can fire the Producers and Director and take over the film!  Now, I've spent countless hours putting this package together!  I wrote the script (based on Jean's book) and I broke it down into a detailed shooting schedule with a detailed shot list for every single day, and from that I calculated a detailed budget.  Things always go wrong with productions - there's always obstacles to overcome, and I will be prepared to deal with them.  I will know what scenes or lines of dialog can be replaced or reworked or eliminated in order to pick up time.   I will know where and how to leap-frog from one location to another if we are forced to do so.  No matter what detours in schedule or budget may occur, I will be prepared to improvise, adapt, overcome (thank you, Clint) not some completion bond Director.   This is my baby, and the only way I would give up my own flesh and blood is over my dead body!  Goodness.  I didn't mean to get so carried away.  Tis the season to be jolly, right? Check back after the holidays, after my wife returns from Japan, and things return to normal.  I look forward to the new year - 2013 is the Year of the Movie.

SHE LOVES ME #5 (birth of a salesman)

Goodness - it's been quite awhile, and much life has passed since the last entry.  I don't even know where to begin to pick up the thread.  Well - first of all, the attempt at crowdfunding via Indiegogo did not succeed.  Although it was an interesting experiment, we fell way short of our budgetary needs - I mean way short - by the hundreds of thousands.  I'm certain I followed the guidelines, I just didn't get the response I was hoping for.  Some people - friends, family, business associates - did contribute, and my first inclination was to simply return the money, (even though it was not required,) but as the days passed after the campaign ended, I realized I wasn't quite ready to give up on the whole thing.  I had spent many hours, days, weeks breaking down the script and assembling the production package.  I still believed I had a viable project - a great, colorful story that would make a great indie film - if I could only get the money.  It's always been about the money.  Some people, I suppose, are naturally gifted at acquiring vast sums of money from perfect strangers in order to realize their cinematic dreams, but I am not.  I am not a natural born salesman like my father was - God Rest His Soul.  But I am a damn hard worker, and I know I have the skills to pull this off, so I became determined to find a way to get the money.  I had to go back to the traditional film funding concept of approaching investors, so I turned to the information flow - the cyberspacial conduit to the solution to my challenge.  Many paths and approaches are offered in cyberspace, but they all seem to converge at a singular point - the key to success in attracting investors is to present them with a solid business plan.  During my Indiegogo campaign, I had drawn the attention and support of many friends and associates (and some, as aforementioned, contributed) and one dear old friend mentioned a relation to a man out in Portland, Oregon (coincidentally, the hometown of SHE LOVES ME novel author, Jean Erhardt) who creates business plans for a living.  His name is Jeffrey, and he was gracious enough to give me some advice free of charge.  I kept Jeffrey's contact info in my mental rolodex, and after the paradigm shift in my game plan occurred, and I came to the aforementioned conclusion about the business plan, I went back to him.  As I mentioned, Jeffrey creates business plans for a living, and his services are not inexpensive, and justifiably so.  A solid business plan can make or break the project.  I couldn't think of a more practical use for the money I received from the Indiegogo campaign.  Jeffrey and his assistant have been working on my business plan for several weeks now, and I believe it's close to completion.  After it's received, once again it will be up to me to go out and pound the pavement, and although I'm not a natural born salesman, I will at least have a very effective marketing tool that will help build my confidence as I venture out past my comfort zone.    

SHE LOVES ME NOT #4 (shaky start)

 

Two weeks into the campaign, and my high hopes have been somewhat diminished.  It began inauspiciously when on the day of the launch, and after I had signed up for Facebook, and had been navigating about for an hour or so, I was sent a message informing me that my password had been compromised and my account had been locked.  FB also advised me to change the password if it was being used for any other accounts, and it was - for several.  It took me hours to resolve.  I then realized that the campaign announcement message I had sent to my sphere of friends, family, and colleagues via Facebook and Linkedin was not clear.  I've never been comfortable with the prospect of directly asking people for money for film budgets, so with my initial message, I was trying to lure people into the SHE LOVES ME website where I was hoping they would click on the Indiegogo button, go to the campaign page, learn what "crowdfunding" was all about, and donate, but they didn't.  It was too complicated.  I had to step out of my comfort zone and be more direct with my solicitation.  I sent a second message explaining that I was trying to raise money for a film through Indiegogo, and I included a brief explanation of what Indiegogo is all about, and this time I also included a link to the campaign page.  This seemed to work.  I started getting donations and encouraging messages, and I was thrilled!  The campaign was under way!  The next step was to send out the press release.  Following the advice of an experienced crowdfunder I was following on the internet, I chose PRWeb to distribute the release.  The press release was supposed to be the marketing tool that was to draw the most attention to the project.  So far I haven't received any email or donations from anyone outside of my personal connections, so I'm not sure the press release was all that effective.  What I do know is that after two weeks into the campaign, I find myself way short of the funding goal.  Of course it's still relatively early, and I'm certainly not giving up on it by any means, but I am considering alternate plans.  If I can raise enough money to shoot the first scene of the script - say $15,000 - $20,000 - I will change the format of the project into a webisode series, shoot the first episode, and take it from there.  I've also been open to the idea of switching the project over to an investment scenario.  After a phone conversation on the subject with an old friend of the family who happens to be a successful businessman, that notion became reinforced with his confirmation that an investment scenario would be more appealing to him, as it would be, he surmised, for other people with larger amounts of money available for speculation.  But then I'm back to the dilemma of asking strangers to invest money in a high-risk venture.  Not my forte.  Thank God I have an attorney who is willing to perform that task for me, and I intend to ask him to expand the phone list if things don't work out with the donation scenario.  So although it's been one heck of a learning curve to deal with, and I'm slightly disappointed with the donation numbers at this point, I'm still pumped about the campaign overall, and excited to see how it evolves! 

Mike Bizzarri

http://www.shelovesmefilm.com