Buy a Camera and Make Your Own Movie By Scott Shaw

By Scott Shaw

Recently, a guy contacted me and wanted to fly me into his city to make a Zen Film. He explained that he really needed my sensibilities in a movie he hoped to create. Initially, I thought that might be fun. Working with an entirely new and unknown group of people who were into Zen Filmmaking. But, then I started to see the flaws in this guy’s hopes and ideology. Though Zen Filmmaking is entirely about freedom—about simply getting out there and doing it, I was being asked to come to a city I had never been to and basically do everything. I mean everything. I decided to pass on the offer and I suggested to the guy, “Why don’t you buy a camera and make your own movie.”

In today’s world, you can literarily make a movie with your phone. I have. Or, you can use any number of relatively inexpensive cameras that are on the market. The fact is, it is very doable if you have the focus and the dedication.  But, I believe that is the issue, the focus and the dedication. There are a lot of people who want to DO but very few people who will DO.

Sure, I have my advice for budding filmmaking. …Like don’t try to mimic what has already been done. Make your own movie, using your own cinematic philosophy, and so on. But, it can be done. And, it can be done relatively cheaply.  Not like in times gone past.

This all kind of struck me as interesting when I gave that guy the advice, “Why don’t you buy a camera and make your own movie.” That was something I had said to someone else, way back in the way back when, under entirely different circumstances.

The story, I was making a movie and this guy/my friend (I surmised) was helping me out. He was an actor. I had met him working on the set of someone else’s film. And, like so many others, he wanted to break into the Hollywood game. Me, being me, I was charting my own course to achieve that goal.  In any case, we were filming one day and I was realizing that we were running late and we were having some technical issues and we should not film this girl he was crushing on very hard that day. He completely freaked out and started yelling and screaming. This obviously really messed with my small cast and crew. It wasn’t that I was not going to use the girl. It was just that I realized her scenes would be better filmed at a better location I had in mind and on a different day. In any case, we finished the day. Once home, I left him the message, “Why don’t you buy a camera and make your own movie.”

Though he apologized, we finished the movie, and remained in contact over the next several years; I knew I could never trust him again. That style of reactive behavior is just not healthy for the emulation of art: cinematic or otherwise.

Certainly, on sets, I have seen this style of behavior before and after that occurrence. But, it is just not good. It poisons the fruit. I mean, in worse case, if you are not liking what is going on, leave. I know I have done that. I have done that even in the case of one big A-film I was cast in and on a TV series. …That one was an interesting one… I was cast to do a role in the last (short-lived) sitcom that the great actor James Garner was doing. In any case, we were on the set, we had done the rehearsals, and then Garner shows up. We started to do rehearsals with him and what an asshole! I mean this guy was a total jerk! That was sad because I had always really liked him as an actor. We shot the scene as Garner continued to go off at me and everyone else. They called lunch. I left and never came back. The production company claimed I ruin the story by leaving. My agent got really pissed and dumped me. But me, good or bad, I stood my ground. I didn’t throw a fit. I just left. …And, you wonder what happened to my career in the A-Market. There’s your answer. :-)

Anyway… That’s just kind of a side note to the story and the point of all this. If you want to make a movie, why don’t you buy a camera and make your own movie. Use your phone. Use whatever it is you have. Get out there and film something everyday. It doesn't have to have story structure. Lord knows, my films don’t. All it has to have is you doing something. Film it, take it off of your phone or your camera, edit it if you want, and make something! Make art!

This is the same with any art you desire to create. Do it! Draw, paint, write.

Art is based in one person doing one thing. Again, do it! Because if you don’t, all your life will be left with is all of those artistic projects you envisioned in your mind but never created.

Copyright © 2019—All Rights Reserved

 

Originally from the Scott Shaw Blog

Scott Shaw Zen Filmmaking

How To Cast Your Movie By Scott Shaw

By Scott Shaw

            Casting an actor for your film is one of the most important elements to the success of your project. In fact, it may be the most important element because it is an actor who will portray the message you are attempting to convey to your audience.

            People come here to Hollywood, California from across the globe chasing the dream of becoming a movie star.  Certainly, there are actors everywhere, but Hollywood is the home of the movie industry.  As such, this is also the focal point of where people direct their hopes on achieving acting success.

            As someone who grew up in Hollywood, I believe I have a unique perspective of the film and television industry.  Throughout my life I have been surround by those who have made-it in the industry, and those who wish that they could have.

            Very early on in my life I came to realize that what may be defined as talent has very little to do with whether or not a person will make-it in the industry. Industry success is based more upon luck and being in the right place at the right time, as opposed to being in the wrong place at the wrong time; i.e. making bad career choices. But, more than anything else, industry success is based upon karma or destiny.  This being said, everybody comes here to Hollywood believing that they will be the one that will, “Make-it!”

Casting

            From a filmmaking perspective, it is you, the filmmaker, who must put out a casting notice, go through all of the headshots that you will receive, decide which ones to call in, and then finally decided upon which talent to cast for your film.  And, I use the term, “Talent,” very loosely.

The problems with casting a film are numerous.  At the root of many, if not most, of these problems is the actor. This problem begins with a headshot.

As someone who has cast numerous films and has looked at literally millions of headshots, I can tell you, ‘What you see is not what you get.’

One of the most common things that people do is to send out a headshot that makes them look beautiful. This is based on several factors. It may be that the photo was takes ten years ago.  Or, it may be that the photograph is highly retouched.  I believe that the primary reason this problem arises is that people, (meaning actors and actresses), actually believe that they look better than they truly do. When they see a great photograph of themselves they think, “That is how good I really look. If this photographer can make me look this good, than certainly a director can.” But, anyone who has made a film knows, this is not the case. A film and/or particularly a video camera are very unforgiving. Though lighting can be adjusted and even diffusion filters used, doing all of this takes a lot of time and energy, which equals a lot of money. And, a lot of money is something that most independent filmmakers do not have.

This “Beautiful Headshot” scenario is particularly the case with actresses.  I cannot tell you how many times I have called an actress into an audition and could not even confirm, with one-hundred percent certainty, that the person sitting in front of me was the individual in the photograph.  I commonly say to them, “I would really like to meet the girl in this picture.” But, for the most past, they are so vain that they do not even get the joke.  In some case, in my earlier days, I have simply torn up their headshot right in front of them. The point being, never trust a photograph.

Training

            The second problem you many encounter, while casting a movie, is the training an actor has undergone.

Here in Hollywood, and the surrounding area, there are literally thousands of acting coaches. People come from all over the globe to study with these people in hopes of landing a role in a film. The problem is, who are these acting coaches?  With very few exceptions they are people who have come to Hollywood and have attempted to make-it. When they did not, they somehow landed a gig teaching acting.

Ask yourself, how many famous actors are professional acting coaches?  And, the few one-time successful actors who have become acting coaches are those who fell away from favor in Hollywood and could no longer get roles. As such, they are left without any other skill than to train other people in how to act.

The main point to understand is that acting is not about learning to act.  Acting is not about studying. Acting is about being natural.  This is particularly the case of acting for the camera. So, for all of these people who pay all of this money to be judged in a class by other wanta-be actors, they are only lying to themselves if the think acting training is any more than a way to fill someone else’s pockets with cash and waste a lot of time.

This being stated, I cannot tell you how many times a person’s acting coach or their ongoing acting training has gotten in their way of their actually being in a film. There has been times when I cast an actor or actress for a film and later they tell me that they cannot show up on the day of the shoot because they cannot miss their acting class. Yes, it is hard to believe. But, this has happened to myself but to numerous other filmmakers I know, as well.

You ask, “Why?” Because their acting coaches are very vehement about them never missing a class or postponing a scene study they are set to present with their acting partner. But, more than this, most acting coaches are simply jealous of anyone who has actually been offered a role.  From this, they talk their student out of accepting it.  They do this by convinced them that they have the potential to be a Big Star.  Therefore, why should they appear in an indie film?  Of course, those people who have listened to their instructor and passed on the roles offered to them in indie films have never gone on to anything expect pay their acting coach more money. But, these are just a couple of examples of how acting training negative effects an actor’s potential and how it may effect the outcome of your film.

Never Acted Before

            Here in Hollywood and in other cities, as well, there is the major problem of people auditioning for a part in an indie film who have never acted in front of the camera before but they have been an extra on a major movie or television set. On these sets, they see the massive number of crewmembers doing things, the name-actors being led in from their trailers to the set. Plus, the food is great and the atmosphere is electric with high-budget film energy. They think this is how all movie sets are supposed to. But, to the independent filmmaker, we know this is not the case.

            This being said, it is very important to weed out those ‘A-Picture Dreamers’ from the ones who actually want to act.

            It is essential to understand that it is not a bad thing to bring a person onto your set who has never acted before. In fact, from personal experiences, I have gotten some great performances from people who can simply be themselves in front of the camera but never had any intention of becoming a professional actor. On the other hand, there are those who are locked into the ideology that all movie sets are major productions—where the actors will be pampered and catered to.

            The reason that you do not want to cast someone like this is that they will simply be disappointed once they arrive on your set.  This disappointment will be obvious and it may spread to your other cast members. And, negativity spreads on a movie set very quickly. Therefore, you really need to watch out for this type of person and keep them off of your set.

The simplest remedy to find out an actor’s expectation, if you are thinking about casting them, is to ask, “What sets have you been on?” If they tell you about a student film they were in or an indie project, then you have no worries. They will be fine on your set. On the hand, here in Hollywood, it is very common that a person will have been an extra in a film and or on T.V. and they will list these roles on their resume. But, being an extra is not being an actor. If their resume is made up of several of these productions, then you know you may have a problem.  Now, this is not to say that a person who has been on a large set will not be willing to work in the indie market. But, this is simply a warning that you must talk to them about their expectations to alleviate any on-set misconceptions that may bring your production to a halt. 

Very Average

            Probably, the most damning of all elements to any film’s production is an actor’s ego. Everybody comes here to Hollywood assured that they will be the next Big Star. They all believe that they have the looks, the talent, and the drive to become successful.

            This world has become celebrity obsessed. Everywhere, the life of the famous is broadcast, written, and spoken about. Due to this fact, actors believe that they have the potential to come to Hollywood and become just as big as the biggest name.  “If they can do, so can I.” I have heard that statement so many times from so many wanta-be actors and actress that I cannot even count the number.

            But, none of them ever do make-it.  Why?  Because they are very-average.  They are just like everyone else who comes to Hollywood. They look the same, have the same hairstyle, wear the same trendy clothing, study from the same acting teachers, and go to the same headshot photographers.  But, they all go home never having done anything in Hollywood but to be an extra and show up to auditions with headshots that don’t look like themselves, spouting the promise, “I am great actor.”

            The ones I have known that have made-it in Hollywood, (to whatever degree), are the ones that have had their own style and their own identity.  They created their own niche for themselves by being who they are and not defining themselves by whom they studied with or circulating beautiful headshot that they look nothing like.

Casting the Actor

            We, as filmmakers, are always dependent upon the actor. We are also dominated by what is available. Meaning, we can only create our cast from the available options we are presented with. So, what is the answer?

1. Don’t trust the headshots.  Tear ‘em up if the actor or actress comes to you and looks nothing like their photo.

2. Forget about where they studied—as ‘The Studied’ bring far too many preconceived notions and other nonsense to your set.

3. Cast people you like. People you wouldn’t mind hanging out with.

4. Never become friends with your cast. At least not while you are filming. Why? Because then the relationship becomes convoluted and they may expect more than you are willing to give.

5. Always tell actors what to expect on your set. Tell them where you will be filming, how large is your crew, what kind of equipment you are using, and how many actors they will interact with. With this, you prepare them for what is to come and they will not surprise you with an attitude of discontentment.

Copyright © 2006 – All Rights Reserved

How to Cast Your Movie @ Scott Shaw.com

Scott Shaw Zen Filmmaking

I Make Weird Movies. What? By Scott Shaw

By Scott Shaw

I always find it interesting how in the Independent Film Industry people find easy targets for their criticism. This is especially the case in the No and the Low Budget Arena. This lack of understanding and appreciation goes hand-in-hand with something I have talking about literally forever whenever I speak with new filmmakers in my classes, seminars, or face-to-face. …You cannot become lost in attempting to imitate a film with a large budget when you have no budget. …You cannot expect your film to come out looking like a film with a million dollar budget when you have five dollars.

For the actual filmmaker, this concept is much more easily comprehended. For the viewer and the critic, not so much.

Most film viewers go into any film watching experience with preconceived expectation based upon what they have viewed in the past. Most of what they have viewed in the past is based upon a film with a substantial budget. Even most Independent Features are bankrolled with a fairly sizeable budget.  But, then there is the whole other area of the film industry, the area of the industry where people are making movies for the love of cinema. Though they may have no money at all, they make their movies anyway.

Now, at this level of the industry some people do attempt to mimic what they have seen in the High Budget Arena. Most fall very short of this. Of course, there have been a few films made with no or a very small budget that have broken though. The most obvious examples of this are perhaps the original Blair Witch Project and El Mariachi. But, it is essential to note, that the versions of these films that went to wide-release were not the original versions of these films. They had major dollars poured into them for reshoots, editing, and sound tracking before they found their way into the mainstream.

All this being said, the viewing of any cinematic project is about the viewing of that particular project itself and it should not be about comparisons. Yes, this is a philosophic concept that most people will never understand or put to practice. But, just because it is not understood does mean that it is not true.

From a personal standpoint, I’ve watched over the years as people have compared my features to other pieces of cinema. They have gaged my work in comparison to the works of other filmmakers. They have tried to make sense of my work by placing labels on it. But, by doing this, in and of itself, they have missed the point.  They have tried to place definitions and judgments on my work when they have not possessed the mindset to even understand it.

This does not bother me particularly. That’s just the name of the game in art. People gage things through their own level of realization. They want to find a reason to love or hate a project.

Also, this does not cause me to change. I mean, any artist who adapts their work simply because people criticize it is not an artist.

This being said, artists do evolve. I certainly have. My film work certainly has.

For example, I used to make abstract cinema attached to a verbally driven storyline. But, as I have long said, the stories have all been told. I don’t care about the stories. Leave that to the filmmakers with big bankrolls behind them. Though there may have been a subject matter in my films of the past, the story-driven dialogue was never the focus. And, this is where many critics got what I was doing all wrong. The words were just there as an abstract koan to take the viewer into the mind of Zen. The words never meant anything. They were nonrepresentational. They were just people taking about the nonsense that people normally speak of in life. I mean really, how much of what anyone says really matters?

But then, I left all that talking behind. I moved forward to focusing solely upon images.

The fact is, I have not made a dialogue-driven film since 2009. That’s almost ten years ago. Yet, most the people who talk about my Zen Films are not even aware enough to be aware of that fact. What does that say about them? Yes, I’ve made tons of movies since then, but they are all unspoken. They are simply non-figurative images moving across the screen. The reason? Again, to guide the viewer into the meditative mindset of Zen.

So, next time you see a film, especially an experimental film, try to move beyond what you already know—what you already think you know. Leave behind your judgment and maybe you can understand what the filmmaker was actually attempting to portray. Maybe you can encounter Zen.

Copyright © 2018—All Rights Reserved

Originally from the Scott Shaw Blog

Scott Shaw Zen Filmmaking

The Press Kit By Scott Shaw

This is a Press Kit information page that I passed out to a class I was teaching at U.C.L.A. a number of years ago. Though it is a bit dated in its approach, as the world has gone largely digital since that time, you may find it helpful to guide you in obtaining publicity for your film.

The Press Kit

U.C.L.A. - X 479.94 - The Art of Digital Filmmaking - Scott Shaw

      It is essential that you devise an exacting Game Plan to market yourself as a filmmaker and to alert the world that you have a film or video project. To reach the media, you will need a Press Kit. A Press Kit makes it easier for an investor, distributor, newspaper, or television show to know about you and what your project is about. Additionally, it is an essential tool in providing a writer with a start-point in writing an article about you or your film or video project.

      A Press Kit provides information about you and your project in a language media people understand. Even though you may find the format and tone of the material in the Press Kit to be overly commercial and self-congratulatory, it focuses the emphasis on your project and presents the facts so anyone who reads it can concentrate on getting the additional details they desire during a phone or in person conversation.

Devising a Press Kit

1) Cover Letter. This should be brief, usually no more than one page. The first paragraph is enticing and draws the reader in. The next paragraph tells the essential details about you, your film, or video project.  The final paragraph of a Cover Letter is a good point to include possible story ideas or hype-lines for your project.

2) Press Release. Immediately cover the five W's of news writing in your Press Release,  “Who, What, When, Where and Why.” Do this by beginning with an enticing one or two-sentence introduction followed by brief, to-the-point, background about you and your project. Be sure to include your contact information, including a Website where they can view your project or find out further details about you and your film or video.

3) Bio Sheet. This is your resume in prose format. Sometimes an editor or a T.V. News Magazine producer will decide to do a story about your film or video based on your personal history.  So, it helps if you play up something about your life that is unusual or follows a trend.

4) Press Clipping and Magazine Articles. Journalists like to follow someone else’s lead.  They may not cover a story unless somebody else has done it first.  If you have copies of previous press clipping or interviews include them with your Press Kit.

      Keep in mind, contrary to popular belief, it is not difficult to get press.  Newspapers and magazine are always looking for new subjects to cover -- all you have to do is ask and keep asking until somebody decides to do an article on you.

5) Glossy Black-and-White Photo. Though a newspaper may send a photographer to take a picture to accompany a story about you or your film or video, some of the smaller papers don't have the budget or the time and they may print whatever you send them.  A 5 x 7 or 8 x 10 of you involved in your production or a very depictive Production Still is a good form of initial presentation.

      Put your Press Kit in a folder. So, your presentation will not be easily lost.

      Remember, Press is free, you are doing the newspaper, magazine, or T.V. show a favor by giving them something to report on.

 

Copyright 1998 All Rights Reserved

 

The Press Kit @ Scott Shaw.com

Scott Shaw Zen Filmmaking

Film Distribution: Understanding the Rights and the Rules By Scott Shaw

By Scott Shaw

            As a filmmaking who has created a large number of feature films and has written about the subject of filmmaking quite frequently, I am often either asked about film distribution or confronted with the fact that someone is illegally distributing one of my films via the internet. To the average film watching individual, they may never even question where, why, or how they are receiving the film they are watching. In fact, in many cases, they do not even care. But, to the filmmaker, this subject matters as illegal distribution truly robs the income of a film’s creator.

            Again, as a filmmaker, having created a lot of films, I am also frequently contacting by people who want to distribute a film that I own the rights to. I appreciate those people who have the honor and the business prowess to realize that they must first legally obtain the rights to a film before they can sell it. Therefore, this piece is geared towards those individuals, as well, as they understand and appreciate that to legally distribute a film, without any worry of legal repercussions, they must obtain the assigned rights.

            To begin, it must be stated, in this age of the internet, all rules have gone out the window. This was first illustrated by Napster in association with the music industry. But, Napster was a company with a name and a location. Though the owner did encounter legal objections to what he was doing, he was a person and there was a place. Thus, it all played out in front of a judge. In many cases, however, the person who grabs another person’s film to distribute is either a non-existence entity or a business located in some country where copyright laws are not enforced. Moreover, they are a person who does not care about the repercussions on the filmmaker. I would say, “This is wrong and a person should not behave in that manner,” but I am sure that statement would fall to deaf ears as a person who follows the path of illegal film distribution only cares about themselves and the money they are making.

            This also is an important fact to keep in mind if you are one of those people who scours the internet to find a movie for free. The people who are offering those movies did not create that movie—they did not pay to have that film created, yet, they have stolen it from some source and are offering it to the world.  Many sites claim they are free but they are never free. If they were not making money, they would not be in existence. Thus, that film thief is making money off of another person’s creation and another individual’s financial outlay. This, in and of itself, should make you think about where you get your movies. But again, I imagine, to the uncaring individual, all they care about is watching a film they want to watch. But, you should be more than that and think before you watch.

            Okay, with all of the foreboding forewarnings out of the way, let’s get down to the business of film distribution… A person comes up with an idea for a movie. They create the movie. Who owns the rights to that movie?

            This question is both simple and complicated. For if a person comes up with a movie idea and then creates that movie with their own money, they own all the rights. But, if a person seeks money from an investor, depending on the contract, there can be more than one person who owns the rights to that film. This is why contracts are essentially important during the creation of any film as it defines whom owns what—whether this is by percentage or partial or whole ownership.  I have seen many a filmmaker begin a film, run out of money from one investor, and then turn to another financier. From this, ownership becomes very convoluted if everyone involved was not present and in agreement every step of the way. This has caused many a completed movie to be lost from distribution as the legal implications of ownership are so convoluted.

            Therefore, to a film’s creator, be very conscious of whom you bring into your production and be very precise of any contractual agreements you enter into as it can truly affect your ability to distribute your film. 

            This brings us to the subject of formal film distribution. You have created a film; how do you get it out the viewing audience? First of all, it is important to look at the times gone past.

            There used to be only one way to get your film out to the viewing public and that was via a film distributor. What a filmmaker would do was to get a copy of their completed movie out to the various distributors and then make a deal with the distributor that offered them the most upfront money.

            In no uncertain terms, film distributors have always been notorious creatures. In times gone past, they would at least pay you for your film upfront. From this, at least some of the financial outlay would be repaid.  But, that would generally be it. Though you very possibly would have a contract promising you a percentage of the film’s sales, receiving a penny was virtually impossible. It fact, many times a distributor would give the filmmaker a, “Charge back,” claiming that the filmmaker owed them money for distributing their movie. As most filmmaker, (especially independent filmmakers), do not have the finances to employee savvy legal representation, the distributor would simply keep all the profits.

            As first the video age and then the digital age came upon us, and everybody became a filmmaker, distributors ran away with this. As there was so many films being offered, they no longer had to pay the filmmaker anything upfront to represent a movie. I cannot tell you how many filmmakers I know (including myself) that have made a movie, witness it be released on VHS, DVD, and offered via established download and streaming services, and have never made a dime. Yes, they were promised money but they never saw anything. The distributor obviously kept all the money. For the most part, distributors are snakes. So, if you are a filmmaker and are lost in the dream of making millions from of your film, and you give it to a distributor, think again.

            Today, there are so many services where you can distribute your own movie and get it out there without employing a formal distributor—for the indie filmmaker that is absolutely the best way to go if you hope to make any money from your movie. CreateSpace and Amazon Direct are currently two of the best options. You can monitor sales in real time and they pay you at the end of every month.

            Now, to the modern distributors… I have encountered both the unscrupulous and the honorable distributor who have crossed my path. I have watched as some people have attempted to just take a movie that they liked as a teenager and believed it was out of print so they digitized it and released it. From this, they got sued big time.

            It is essential to note that just because a movie does not have current distribution does not mean that the title is not owned by somebody.  If it is owned by somebody, they own all the rights to that title. Maybe, they simply no longer want it to be in formal distribution. Maybe there are other factors attached. But, these are all factors that a distributor who just grabs an old VHS and runs it through their computer cannot know or understand. All I can say is don’t do it! I have witnessed more than a few people, even one very successful filmmaker/distributor, be driven to financial ruin by this practice.

            If you do not formally own the rights, you have no right to release a film. Just because you like it or believe you want to get that film out to the public who has never seen it, or just because you believe you can make some money off of it, you do not own the rights. Thus, you have no right to release it.

            A side note here for the new breed of internet film reviewer who takes small or large amounts of footage from a film and then discusses it in an on-line presentation. Though some of your productions may be fun to watch, you do not own any rights to that film or to that footage. Thus, it is illegal for you, under U.S. Copyright law, to use that footage in your review. If the owner of that footage chooses to do so, they can take legal action against you, and you will lose. 

            This brings us to the scrupulous distributor who has the same motivations for getting a film out to the public and actually contacts the filmmaker. I salute you. You are doing the right thing.

            There are some filmmakers who do not have the technological or the business savvy to get their film out there. This, particularly, may be the case if they are from a previous generation and are not up on what is going on technologically.  To those individuals, a distributor may be able to get their film out to the public.

            To the honest distributor, they must be very careful in whom they approach to gain the release rights to a film, however. If a film is no longer in distribution, there is generally a reason for this. This is especially the case if a film was fairly successful, once upon a time. The thing is, if the rights were signed away to a production or a distribution company in the past, then the rights or ownership to that particular film have become convoluted. From a personal perspective, in years gone past, I have had people steal the masters for a couple of my films and sell the rights. They did this with no release from me but they did it anyway. Then, they disappeared with the money. Which caused me to have to take legal action. But, legal action is something nobody wants to do. It is expensive and it is time consuming. It is just not worth it. So, to the honest distributor, be sure you are contacting the person who actually owns the whole and complete rights to a film before you take on the distribution of that film because it could lead to legal consequences.

            When it comes to money, it always gets complicated. Have you ever noticed that when you play the game Monopoly with some friends, the person who is the banker always wins? Why? Because they are cheating. They have access to the money, you do not. This is very much the case with distributors. To the honest ones, sure you may plan to pay out money to the person from whom you got the rights to a film. But, then comes your rent, your expenses, and the things you desire… Then what? You may plan to be honest but in most cases honesty and the film business do not go hand-in-hand.  So, all I can say to everyone, on all sides of the distribution issues, is be careful as any deal you make will probably not turn out the way you hoped that deal would be actualized.

            In closing, filmmaking should be solely about art. The fact is, it is not. Filmmaking, is based, (as is so often stated), in the, “Film Business.” Filmmaking is a business. From the low/no budget filmmaker to the ultra high-end production, people are in it to make money. And, for the artistic and the honest, they are commonly the ones who come out on the low end of the equation.

Copyright © 2017 – All Rights Reserved

Film Distribution: Understanding the Rights and the Rules @ Scott Shaw.com

Scott Shaw Zen Filmmaking