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Oh, Producer, Where Art Thou?

11 years, 3 months ago - Stephen Russell

I was wondering if I could get some advice or sage wisdom thrown upon this question, one that has left me stumped, smashing my head repeatedly, in front of the metaphorical brick wall: just how do you get a producer.

I've finished up on my first debut screenplay, a comedy that dissects retail life and culture from within a video game store, and have put it through numerous rewrites, thanks to the notes I've been provided by a number of people; however, I'm now stuck. What is the next step?
Right now it's sitting on my hard drive, taking up space and begging to be made. I intend to direct the project, and the entire venture would definitely be an indie effort (hopefully an indie gem, even! :P) but I've no real idea about what the next practical step would be in order to achieve this. I've assumed it would be in finding a producer, who in turn can help in finding funding and then slowly, but surely, all the necessary pieces could begin to fall into place. Would this be correct and, as a follow up, how would I do this?

I'm aware that this, in itself, is a wide open question with plenty of variables involved, but through the power of collective conversation, I was hoping to glean what I can do to make it happen, or at the very least take another progressive step forward. I'm truly passionate about this script, and for it to become 'real' is my dream right now, and I'd be appreciative of any advice put forth from you all.

Thanks for taking the time to read this, and I'm looking forward to your thoughts on the issue. It's taken me a while to finally put this post out there, but I figured where better to ask than with a community built upon trying to help one another, eh.

Steve

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Response from 11 years, 3 months ago - Stephen Russell SHOW

11 years, 3 months ago - Paddy Robinson-Griffin

Cutting to the chase, the answer is money. Production is all about money, raising or spending it. Making features is expensive - so not what gets produced is selective. Thousands of scripts go unmade every year, some of them may even be very good, but they didn't get attention and were competing with other very good scripts. In fact many 'famous' spec script authors (guys who make regular Hollywood sales) still know it's a numbers game, and that not every script gets made.

If a producer has access to investors, finding a good script isn't the hard part, so they will probably have several of their own other projects they're trying to get traction for. Named directors don't get to make every project either, so first-timer inexperienced ones add bigtime to the project risk.

So, what's the best way to turn a first script directed by an inexperienced director into a feature? Money. Turn up with money. Real money. Find your own backers, use savings, hit up your friends and family, believe in yourself. If you can raise part of the budget yourself, a producer will find it easier to raise the rest either in deals or loans or tax schemes. If you can show that you have backers to the tune of tens of thousands of pounds, you will get a producer interested in getting everything else together. It is by far the biggest accelerant you can provide.

Don't know if any of this is helpful or what you hoped to hear?

Response from 11 years, 3 months ago - Paddy Robinson-Griffin SHOW

Response from 11 years, 3 months ago - John David Clay SHOW

11 years, 3 months ago - Adrian Bracken

Paddy is absolutely right - you have to invest some of your own cash. Firstly is the script any good - I suggest spending 130GBP (or so) to have it looked at by Industrial Scripts in London. (http://www.industrialscripts.co.uk/) they will give you an honest appraisal with a "pass" or "consider" verdict and a pretty good critical analysis. Secondly make a teaser of no more than 120 seconds of the best bits, lines, scenes - whatever. Doesn't have to be shot on a Panavision 3D 35mm camera- DSLR, or I-phone even will do ,- but you need to show investors some script & production value. I went to the 3 day "Producer's Workshop" in Cannes 2012 and asked every speaker about the value of teasers. All but one said it was a good tool in the armoury. "Last Passenger" (2013) was picked up for finance by Nick Smith (Commercial Director) at Pinewood, because, as he told me, you have a pile of scripts and a teaser (that cost £500) it's a no-brainer. The teaser closed the deal. You could do worse than looking at Guerilla Filmaker' Chris Jones' courses, particularly 7 step producer - 2 days at Ealing Studios cost around £200 - but packed with very good advice. He also runs the London Screenwriters Festival in October.(http://www.londonscreenwritersfestival.com/).Finally - try re-making the script for TV (2 x 60 - drama or a 6 x 30 series) rather than for film. Finance is easier, the decision comes much quicker, and it's a creative decision rather than solely a financial one. Good luck - remember "Star Wars" was apparently turned down by every studio in America in 1976 - like George Lucas you have to be thick skinned and keep going despite the rebuffs! Tough old game! Good luck.

Response from 11 years, 3 months ago - Adrian Bracken SHOW

Response from 11 years, 3 months ago - Michael Quinn SHOW