Episode 31 – Brent Emery – Packaging projects and navigating film finance

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In this episode we chat with Brent Emery (@brentalanemery on instagram) about packaging and financing projects.

About Brent Emery
Sundance award-winning producer Brent Emery brings over fifteen years of international film strategy and business consulting experience to Resonate Entertainment. He has worked extensively as an independent film finance, sales and production specialist at multiple executive posts, including U.S. Head of Co-Productions for ECI (a global entertainment company focused on Chinese Co-Productions) and Executive Vice President of Production and Development at Madonna’s Maverick Films.

During his seven years at Maverick Films, Emery oversaw development of a slate of over fifty studio and independent film and television projects. He also managed the deals of a dozen independent producers with deals at Maverick. Some projects that emerged from Emery’s tenure as an executive overseeing development include box office record breaking Twilight, which was eventually financed by Summit Entertainment, the hit film Percy Jackson and the Lightning Thief, and the young adult hit movies Agent Cody Banks I and II.

Emery’s critically acclaimed 2015 film, The Stanford Prison Experiment, won the Alfred P. Sloan Award and Waldo Salt screenwriting award at The Sundance Film Festival. The Road Within, starring Kyra Sedgwick, produced by Emery and written and directed by Emery’s wife, Gren Wells, has garnered multiple international awards, including Best Youth Film at The Rome Film Festival.

Emery recently produced Carrie Pilby with his Resonate cofounders, Suzanne Farwell and Susan Cartsonis.

About Resonate Entertainment
Resonate Entertainment is an innovative new entertainment company formed by film industry leaders who bring their unparalleled combination of creative filmmaking, technical production and film finance expertise to their company. They have a commitment to female gender representation and inclusion, and develop, finance and produce high-quality commercial films in all genres for the underserved yet highly lucrative female audience.

Links Mentioned:

Box Office Mojo
Slated
Cine Story
Studio System
Slack

Communicating leadership principals with metaphors

Making a movie or TV series can often times feel overwhelming. You might have too little time or not enough money to solve all the myriad of problems that lie in front of you and your team.

One thing I like to do early on in production is to communicate ideas about work or the work process via metaphors. I love to use metaphors because they help turn the seemingly difficult problem into a visible solution that gets people thinking.

Below I have listed a few metaphors and how I use them.

Metaphor #1

Do you know how to eat an elephant?

Of course you are NOT really going to eat an elephant…that would be horrible. The metaphor is meant to evoke the sublime. Elephants are so huge it would be impossible to eat them, however if you did have to eat them you would eat them one bite at a time.

Occasionally I will explain this metaphor to my office staff when we are faced with 100 to-dos and I can see the look of of defeat on their faces. I try to explain that if you can focus on one thing at a time and slowly make your way through all that has to be done you will be successful!

I typically share this metaphor with Office PAs, Coordinators etc when working as a UPM/Line Producer.

Metaphor #2

Why should you not eat desert before the meal?

Of course we all know that eating desert before any meal is not a good idea. It’s something we have to educate children on when they are young. The metaphor does apply to filmmaking however and it is one of my favorite to use.

In the filmmaking metaphor the DESERT is often 1/8 of a page (CU of the man holding the phone). The MEAL is simply the meat of the day and hopefully a 3 page scene with dialogue. Now this does not always mean that starting with 1/8 of a page is a bad idea, however it can slow you down and be problematic if you do have a high page count and want Actors to be at their best.

Choosing to start with a big meaty scene first will not only give actors the energy they deserve, but allow you to focus on what’s really important.

I typically share this metaphor with Directors and DPs while working as a 1st AD.

Episode 28 – Robin Kincade – How to become a successful film production assistant

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In this Episode we speak with Robin Kincade (@kincadeproductions on instagram) about working as a successful production assistant in film and tv.

Robin has over 20 years experience as a freelance producer, location scout and photographer for some of the biggest names in the business including NBC, ABC, MTV, CMT, Showtime, HBO, Reality Television and many more.
After 4 years in development, she launched Kincade Productions and is proud to launch this one of a kind course that gives step- by-step direction on how to break into the film industry.

Robin’s Website: https://www.kincadeproductions.com/

Episode 27 – Bruce Van Dusen – Inside the mind of a commercial director

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In this episode we talk with Bruce Van Dusen (@brucevandusen1 on instagram) about his new book and his experience working as a Commercial Director.

Bruce has directed over a thousand commercials, three movies and a documentary. Recently he released a book titled 60 stories about 30 seconds that explores his four-decade long career and a ton of weird crazy stuff that happened along the way.

Buy the Book: https://amzn.to/33oN4uh
Bruce’s Website: https://www.brucevandusen.com/
Bruce’s Portfolio: http://assemblyfilms.com/directors/bruce-van-dusen

10 Essential PPE supplies to consider for your production

Many productions are preparing to resume filming over the next several months and will be looking to implement the safety standards provided in the Safe Way Forward. Part of that process involves having adequate PPE and supplies to maintain a safe set.

Below I have listed 10 supplies you may want to consider:

Episode 24 – Books I’ve Loved – Cal Newport, Jim Dethmer & Ryan Holliday

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The excerpt from Amazon says this about Deep Work:”
‘Deep work’ is the ability to focus without distraction on a cognitively demanding task. Coined by author and professor Cal Newport on his popular blog Study Hacks, deep work will make you better at what you do, let you achieve more in less time and provide the sense of true fulfilment that comes from the mastery of a skill. In short, deep work is like a superpower in our increasingly competitive economy.
And yet most people, whether knowledge workers in noisy open-plan offices or creatives struggling to sharpen their vision, have lost the ability to go deep – spending their days instead in a frantic blur of email and social media, not even realising there’s a better way.
A mix of cultural criticism and actionable advice, DEEP WORK takes the reader on a journey through memorable stories — from Carl Jung building a stone tower in the woods to focus his mind, to a social media pioneer buying a round-trip business class ticket to Tokyo to write a book free from distraction in the air — and surprising suggestions, such as the claim that most serious professionals should quit social media and that you should practice being bored.

Put simply: developing and cultivating a deep work practice is one of the best decisions you can make in an increasingly distracted world and this book will point the way.

 
The excerpt from Amazon says this about The 15 Commitments:
 
You’ll never see leadership the same way again after reading this book.
These fifteen commitments are a distillation of decades of work with CEOs and other leaders. They are radical or provocative for many. They have been game changers for us and for our clients. We trust that they will be for you too.
Our experience is that unconscious leadership is not sustainable. It won’t work for you, your team or your organization in the long term. Unconscious leadership can deliver short term results, but the costs of living and leading unconsciously are great.
Fear drives most leaders to make choices that are at odds with healthy relationships, vitality and balance. This fear leaves a toxic residue that won’t be as easily tolerated in an increasingly complex business environment.
Conscious leadership offers the antidote to fear. These pages contain a comprehensive road map to guide you to shift from fear-based to trust-based leadership. Once you learn and start practicing conscious leadership you’ll get results in the form of more energy, clarity, focus and healthier relationships. You’ll do more and more of what you are passionate about, and less of what you do out of obligation. You’ll have more fun, be happier, experience less drama and be more on purpose.
Your team will get results as well. They’ll be more collaborative, creative, energized and engaged. They’ll solve issues faster, and once resolved the issues won’t resurface. Drama and gossip will all but disappear, and the energy and resources that fueled them will be redirected towards innovation and creativity.
 
The excerpt from Amazon says this about The Obstacle is the way.
The book draws its inspiration from stoicism, the ancient Greek philosophy of enduring pain or adversity with perseverance and resilience. Stoics focus on the things they can control, let go of everything else, and turn every new obstacle into an opportunity to get better, stronger, tougher. As Marcus Aurelius put it nearly 2000 years ago: “The impediment to action advances action. What stands in the way becomes the way.”
Ryan Holiday shows us how some of the most successful people in history—from John D. Rockefeller to Amelia Earhart to Ulysses S. Grant to Steve Jobs—have applied stoicism to overcome difficult or even impossible situations. Their embrace of these principles ultimately mattered more than their natural intelligence, talents, or luck.
If you’re feeling frustrated, demoralized, or stuck in a rut, this book can help you turn your problems into your biggest advantages. And along the way it will inspire you with dozens of true stories of the greats from every age and era.

Film Production Insurance 101 for US Filmmakers

As productions begin to ramp up knowing the inns and outs of your production policy can be very important. The below article is a guest post from Front Row Insurance.

A SOLID FILM INSURANCE POLICY WILL PROTECT THE PRODUCER FROM:

  • liability related to injuries on set
  • accidents in working vehicles
  • theft
  • loss and damage of rented and owned equipment
  • can also protect producers from libel or copyright infringement claims

AN OVERVIEW OF THE FILM INSURANCE POLICIES OFFERED BY FRONT ROW FOR US FILMMAKERS:

PRODUCTION EQUIPMENT INSURANCE

Covers against risks of direct physical loss, damage or destruction to cameras, camera equipment, sound & lighting equipment, grip equipment, portable electrical equipment & generators, mechanical effects equipment and similar miscellaneous equipment.

This coverage also typically includes loss of use of property of others for which the renter or producer is legally liable. The limit of coverage for production equipment should be sufficient to cover the replacement cost of ALL equipment being used on the project. Most equipment rental houses will include in their contract a statement confirming the renter’s requirement to fully insure the equipment in their possession.

Equipment Floater Policy US quote.

SHORT-TERM PRODUCTION INSURANCE (SHORT SHOOT)

Short-Term Production Insurance is perfect for the new or indie filmmaker who may not have more than one project scheduled in the next six months. This coverage is ideal for singular projects and can satisfy insurance requirements from film schools, rental houses, permit offices, prop houses, and/or studio location rental space.

Pricing starts at around $500 USD for minimal coverages. The premium amount for 1-10 days of coverage is the same price and it will increase with the more days you add, but 60 days is the maximum coverage period for short-term policies.

Short Shoot US quote.

DICE INSURANCE (ANNUAL)

  1. What’s the difference between short-term production insurance versus annual?
  2. Short-term production insurance covers your productions on a project-by-project scale. Purchased on this scale, short-term policies can cover as little as one day of production (although you should cover your prep days, too).

Planning to shoot multiple times throughout the year, and have an estimated budget over $15K USD? Then you’ll want an annual (DICE) policy. This coverage can be much more cost effective than Short-Term Production Insurance. Pricing starts around $2,500 USD for the year. Financing may be available.

Although DICE policies can be completely customized to fit your productions need, the following coverage options are available:

DICE US quote.

FILM PRODUCER’S E&O INSURANCE

If your project is being sold or distributed, Errors & Omissions (E&O) coverage may be for you; in fact, most distribution contracts will require this coverage. All television, streaming services, and feature films will require this coverage.

E&O coverage protects your production and covers any legal cost if another party accuses you of an unoriginal idea, e.g., title, characters, plots.

Pricing starting around $3,000 USD for three years of coverage.

Film producer’s E&O US quote.

OTHER FILM INSURANCE COVERAGES TO CONSIDER:

GENERAL LIABILITY

Although film policies vary widely, you’ll always need general liability. General liability covers bodily injury and property damage that occurs during the course of filming. Cast and crew are exempt from this and covered separately through a workers compensation policy. This coverage is required by most city/county permit offices.

WORKERS COMPENSATION

Workers compensation protects you should something happen to your employees on the job. It’s important to go over how you are covering crew (employees) and independent contractors.

THIRD PARTY PROPERTY DAMAGE

Legal liability for damage to or destruction of property belonging to others (including loss of use of the property) while the property is in the care, custody or control of the production company and is used or to be used in an insured production.

NON-OWNED/HIRED AUTO

Hired/Non-Owned Auto Liability covers damages and injuries sustained by other motorists that your production rental vehicle accidentally hits when your production is considered “At Fault”.

UMBRELLA LIABILITY

This policy provides additional limits to the general liability, auto liability, employers’ liability (under workers’ compensation policy) and third party property damage coverages. Some locations will require higher limits than the standard general/auto liability policy of $1mil USD.

GUILD/UNION TRAVEL ACCIDENT

Provides travel accident coverages (accidental death and dismemberment) as required by the guild or union contracts to which the producer is signatory. Coverage is blanket and the limits of liability meet all signatory requirements. Coverage may be extended to non-union employees, usually with a benefit limit of $50K USD each person.

PRODUCTION PACKAGE

A production package is an accumulation of coverages to protect multiple or singular projects such as features, TV series, or documentaries. If you have an annual gross production cost over $100,000 USD and are looking for annual coverage, a production package will be necessary.

Some coverages available in a production package are:

To view all the US film production insurance coverages offered by Front Row, go here: https://www.frontrowinsurance.com/usa

At Front Row, we understand how confusing production insurance can be because many of us were filmmakers (in prior lives) and have been there ourselves! Every film production insurance policy needs to be tailored to the company, or to the project if a short-term film policy. A film insurance policy is based on the best offerings from insurance companies that provide entertainment production coverage.

About: Front Row Insurance Brokers Inc. is an independent insurance brokerage that provides film insurance, including producer’s E&O insurance, for the lowest possible cost. Should a claim occur, Front Row ensures that all clients receive the money that they are owed per the policy, as quickly as possible. Front Row has offices in Vancouver, Toronto, Montreal, Halifax, Nashville, LA and NY.

By: David Hamilton, President+CEO

Bio: https://www.frontrowinsurance.com/staff/david-hamilton

Episode 22 – Gad Tisch – CEO of Croo Gloo discusses strategies for using technology to solve problems

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In this episode we talk with Gad Tisch.
Gad is the founder and president of Croogloo a film and television operations platform. He has a background in film production having worked on numerous films and tv shows. Currently Gad has a mission to remedy inefficient productions and costly practices by centralizing productions to unlock data and generate tax credits.
Visit their website