"The universe is made of stories, not of atoms."
—Muriel Rukeyser
____________________________
Showing posts with label producing. Show all posts
Showing posts with label producing. Show all posts

SELLING THE STORY: SIZZLE REELS





What is a sizzle reel and how can someone use one to pitch a reality show or drama?

A sizzle reel is basically a teaser or sampler of a program that’s used as an outline by the creator. The term came out of reality programming because you need a sizzle reel to sell a reality TV show. A sizzle reel is usually three minutes at the most and it’s supposed to be an exciting, well-edited teaser that gives you a vision of what the program is and what it is intended to be. In theory, the reel gives you a strong inkling of how the program will continue and how it will go beyond its pilot episode. Sizzle reels can introduce characters as well as convey the excitement and points of interest within the show.

Knowing how to make a decent sizzle reel is extremely important but very, very difficult because if you’re not actually in show business you don’t know what companies are looking for. Learning how to put one together is an extremely beneficial way of getting into the industry and it’s a great way to show what you have to offer.

If someone had a sizzle reel, would they then upload it on Vimeo or YouTube? Would it also be included in a pitch to a producer?

Yes, it’s important to send it everywhere you can. You can come up with a log line, or short pitch, that would get producers to watch it. Do a short version for Instagram. YouTube is definitely a great tool. People scour YouTube all the time looking for ideas for movies. Facebook is also good. It’s important to send it it in whatever way you can. If you have an email list, send it to everyone. Ask people to share it, pass it on.

Excerpt from Jeff Rivera's HuffPost Interview with Ken Atchity

GETTING INTO THE INDUSTRY

As the man who found everything he was looking for in his “retirement,” Dr. Atchity is a shining example of the never-ending potential of dreams and aspirations. In a HuffPost interview with Jeff Rivera Ken outlines many of the problems he encountered when shifting to a new career along with some useful advice for those looking to go down the same road.



Taking into account how the film industry has changed over the past couple of years, what advice would you give today that you wouldn’t have given two years ago?

I think it’s becoming harder to sell anything to big studios because they have become almost entirely married to producing big franchises and pre-sold concepts. Marketing has taken over the entertainment industry. Even in the publishing world, big publishers are only interested in how many copies of a certain book they can sell.

For new voices it can be extremely difficult to get published and this is very much the case in Hollywood. It’s often easier to get your work produced independently or through the MD method than it is to go to the studios. Keep in mind that the big studios used to produce hundreds of movies every year whereas now they produce dozens. Some studios are completing as little as three movies a year, but they’re making $400 million films from pre-established franchises like Spider-Man and Captain America.

There’s a global market for these movies and it’s a safer bet for them to spend a lot of money on one movie and earn it all back plus extra. This can make it even more difficult for new writers to sell their ideas, although I think writers can be proactive in finding ways to draw attention to their stories.

If someone, for example, lived in Nebraska and had a story about a family that lived in a cornfield, would they have any hope of having a studio make that film?

Always remember that if you don’t have hope then you shouldn’t be doing it, and hope is never something that can be analyzed statistically. It comes from within. In any industry, looking at the odds can be more than a little discouraging but if you believe them then you might as well go back to work as a bank teller. You have to think to yourself, what can I do? How can I think outside the box to draw attention to my story?

These days, the internet can be hugely beneficial if you’re looking to get your story out there as it provides millions, if not billions, of people access to you work. If you’re looking to generate interest then the internet is the best tool you can use. Studios have executives who do nothing but trawl through the internet looking for new stories. The Hunger Games is one of the biggest success stories of the last 10 years in this sense.

I think the gatekeepers are becoming predictable because they’re so enslaved to their corporate owners but what the true creative executives are looking for is someone who’s not saying the same thing as everyone else. Anyone who has a following as the result of their work is a potential line of interest. So, if I were in Nebraska facing that dilemma, I would focus on the thing that I have in front of me – that everyone has in front of them – the internet. You just have to find a way to pierce that golden shield.

Read more 


ITS NEVER TOO LATE

As the man who found everything he was looking for in his “retirement,” Dr. Atchity is a shining example of the never-ending potential of dreams and aspirations. In a HuffPost interview with Jeff Rivera Ken outlines many of the problems he encountered when shifting to a new career along with some useful advice for those looking to go down the same road.



If you were to start your career over again as a producer, knowing what you know now, what advice would you give yourself?

I would probably say to think it over because I realized throughout my career, and from talking to many producers, that producing is probably the most masochistic profession in the world. In the old days, when I first started, you actually got development fees when you set up a project or sold it but that stopped about years ago. Now you don’t get paid until the movie is made.

There are of course dozens of things that can go wrong and prevent a movie from being made. I have one in production right now that has been in the works for 21 years, and I produced one two years ago that was in the works for 20 years. So, you definitely have to have a day job or other things to do.

I’d also say that you should strategize as best as you can in order to stay on top of the game. The important thing about producing is simply staying in the running, which means you have at least $10,000 at the baccarat table. If you don’t have that stake, you’re out of the game. You have to find a way to do that because it’s really a rich person’s profession or the profession of somebody very, very young. When I got into the industry I was already 45 years old so I didn’t have any particular advantage. I would say be smart and diversify, and that’s what I ended up doing; I took my own hypothetical advice.

What advice do you have for people who are middle aged and want to be producers?
Well, I became a producer in the years after becoming a tenured professor, which I resigned from in order to pursue the career I have now, but there are plenty of other examples too. I’ll never forget the time that Dr. Joyce Brothers invited me on her television show after hearing my story. She had two other people there that night, one was a hairdresser who became a psychiatrist after going through medical school and the other was an 83-year-old man who was signing up for law school.

The older man explained how he had to stand in the admission line to sign up and was surrounded by 20-something year olds. It wasn’t long before the kid behind him finally said, sir, excuse me, but I just can’t help asking you, what are you doing in this line? And the man looked at him and he said, what line should I be in? I absolutely love his story because that’s the attitude we have to have towards life. If you want to do it, just do it.

And you’re never too old to do it, it’s never too late.

There are numerous examples of people who succeeded in later life, including Bernard Shaw and Colonel Sanders. In fact, when I was young I remember reading something that Benjamin Franklin wrote: “There is nothing wrong with retirement as long as it does not interfere with the man’s work.” This has been my motto ever since. I’m retired from the academic world but it hasn’t prevented me from working. I’ve written more books since retiring than I did when I was an academic. I’ve made more than 30 movies, I’ve had a wonderful life, and I do all the things I want to do.

It’s crazy to think you have to stick with what you’re doing for the rest of your life as it’s now typical in American society for people to have two or three careers. We’re living longer and that’s the way it should be. Who wants to live to be 90 or 100 and have the same career the entire time? So if you’re thinking you’re too old for it, read my book, leave your day job, live out your dreams, and never give up.

Read more

How to Escape Lifetime Security and Pursue Your Impossible Dream: A Guide to Changing Your Career: Excerpt

By Kenneth Atchity

The never-satisfied mind

I was taught to be a perfectionist, but in a practical way. One hundred percent is the goal, but we aim for it with the foreknowledge that we're human and will never reach 100%, or if we do, we’ll maintain it only temporarily.

Yet 100% is a better goal than 88%, because if 88% is your goal you'll never hit 90%. So 100% is a better goal as long as you understand that goals are, almost by definition, unreachable because the enterprising goal-seeker will have set a second goal by the time he accomplishes the first. If your goal is to finance a $30 million film, by the time you've closed your deal for $28.6 million you'll be so busy planning your $75 million dollar film you won't be upset that you "fell short" by $1.4 million.

But the 100% standard is used by the Accountant as a superb sabotage mechanism. The Accountant uses the argument of "quality vs. quantity": "Yes, I know you could rush to production with this new Visionary script. But a million things can go wrong with it down the road and it's better to troubleshoot them all before you make an enormous laughingstock of yourself with an equally enormous liability. Let's do a quality job." So the Accountant proceeds to supervise an endless troubleshooting expedition that tunes, fine-tunes, and re-tunes the script to the point that it's no longer recognizable; or until someone else goes public with the same story. "But I want it to be 100% perfect," it argues when the Mind's Eye scolds it. "We'll settle for 98%," replies the Mind's Eye, realizing that such a compromise is required if we're going to reap the benefits of the Visionary's great idea and escape from “development hell.”

Without losing the spirit of the quest for excellence, the perfectionist, also known as “the judge” or “the critic,” must be tamed if you are to accomplish your goals, objectives, and dreams. How do you know when to stop fine-tuning? You don't. Rewrite can go on indefinitely. You set a deadline, beyond which you will cease fine-tuning and begin pre-production.



Buy How to Escape Lifetime Security and Pursue Your Impossible Dream: A Guide to Changing Your Career on Amazon

OUR FRIEND ORLY ADELSON WILL SPEAK AT WRITERS BOOTCAMP BERGAMOT STATION BREAKFAST 2/18

Writers Boot Camp
cordially invites you to attend

BUSINESS BREAKFAST
AT BERGAMOT

With special guest speaker

ORLY ADELSON
PRESIDENT OF DICK CLARK PRODUCTIONS

An accomplished producer of dozens of network and cable productions, Orly will share her unique perspective of the television business, including her breakdown of what specific companies buy, as well as her view of the international marketplace from her perch as executive producer of the Golden Globes.

Wednesday, February 18th, 2009
7:45am – 9:45am

Writers Boot Camp presents to our community the people who truly know the business. Join us every other Wednesday at our Bergamot Staion headquarters to network and to learn where the work is in the entertainment industry.

Check in and networking start at 7:45, and at 8:30am, founder Jeffrey Gordon will introduce our guest speakers for a brief interview and Q&A, emphasizing professional trends, net opportunities, and emerging markets. The breakfast consists of eggs, pastries, fresh fruit, juice, and coffee.

SPECIAL DISCOUNT FOR INFOLIST.com!!
Mention INFOLIST.com when you register, and get $4 OFF - that's $16 in advance (normally $20!), or $21 at the door (normally $25, on a space-available basis) for a moring of networking with a top Hollywood executive.

TO RESERVE YOUR SEAT:
Be sure to mention you heard about this from Jeff Gund at INFOLIST.com to get your discount, and contact Cameron Graham at:
(310) 998-1199 x329
or email your NAME and contact PHONE number, with "INFOLIST RSVP" in the subject line, to:
cgraham@writersbootcamp.com

Event to take place at:

Writers Boot Camp
2525 Michigan Avenue
Santa Monica, CA 90904

Directions:
Take the 10 Fwy or Olympic Blvd to Cloverfield Blvd.
from Cloverfield Blvd., go east on Michigan
(Michigan Avenue is between the 10 Fwy and Olympic)
go to the end of Michigan, and turn Left into the Bergamot Station entrance
Park inside the lot and walk to the SW corner, Bldg i

For questions or more information, please call Writers Boot Camp at:
(310) 998-1199