First of all, I would like to apologize. I know I keep going on and on and on about this "SouthLAnd" movie. And that would be one thing if I actually had any credentials in the movie-making field. As it is, though, I'm probably driving you all nuts. So sorry. :(
Anyway, this should be my last post on the subject. I don't really think I can do anymore from here in my bedroom. Then I'll go back to posting about my other "fields of expertise" -- religion and politics. Oh, yeah -- and mom stuff. And tales from the "hippie era".
So, as promised the other day, here are some ideas for -->
A KICKSTARTER PITCH VIDEO (a.k.a. the video that will get the fans to open their wallets):
I have noticed, over the years, that people are very reluctant to open their wallets. For anything. Even for stuff they believe in. A lot of this is very legitimate. People don't generally have much disposable income, especially these days. But, some of the problem is that they are not sufficiently inspired. They need a little fire lit under their rear ends. How do we ignite that conflagration?
To me, there are four ingredients to this recipe:
1. The Product/Story: The fans have to be confident that the "SouthLAnd" movie will make all their dreams come true -- their dreams for the overall story and their dreams for the characters. Maybe this is a slight exaggeration, but I think it's basically accurate. I am not much of a Bible quoter -- because I am a Catholic and everybody knows that we Catholics don't know our Bible quotes -- but there is one I would like to mention here. It is Jeremiah 29:11-13 -- "For I know the plans I have for you," declares the Lord, "plans to prosper you and not to harm you, plans to give you hope and a future." I think this quote goes to the core of our human nature, to the core of our hearts. It encompasses what we desire for ourselves and those we care about. It sums up our hope for humanity. And, frankly, it addresses what I think many, many people want to see in a story. We are willing to go through ups and downs and ups and downs with the characters. We are willing to see them flail and suffer and fall. But, if they are characters we care about, we hope to end the story with at least a little hope for their futures, for their proverbial salvation, if you will. I think, then, that any Kickstarter pitch video should address this hope of the fans. At least, I think it is the hope of the fans, based on what I've experienced. Nobody wants to see Cooper dead or Ben dooming himself to a life of existential despair. (Just my two cents here. But, I think it could help to bring in the $$$.)
2. Passion: The pitch video has to express very clearly the passion possessed by those who will ultimately create it. A good example of the type of passion I am speaking of is expressed in the Kickstarter pitch video of Scout Tufankjian, creator of The Armenian Diaspora Project. She is an absolutely delightful woman, whose pitch video just wants to make you empty your bank account and mail her a great big check. Go watch it and you will see what I mean. But, save a little money for the "SouthLAnd" movie, okay?
3. Achievability: The goal of the Kickstarter campaign -- the amount of money to be raised -- must be actually achievable. We need to study our numbers (in terms of project budget, show ratings, potential number of donors, donor demographics) in order to come up with a goal (in dollar terms) that is actually doable. And the fan-base being counted upon to donate needs to be convinced (not in a con-artist type of way, of course; but, in an honest way) that the goal is attainable. I hate asking people, who are already probably struggling to make ends meet and fund their 401k's, to commit to making a donation if the campaign is going to end up failing. That's just too much of an emotional roller-coaster ride for anybody to take in this post-economic-crash world, especially if those people are fans who just love "SouthLAnd" the way many of us do.
4. Name/Brand Recognition: The individuals actually on-camera in the Kickstarter pitch video need to be identified closely with the show. The executive producers/creators and lead actors come to mind here, of course. Other possibilities are people who wrote and directed particularly memorable episodes.
Thank-you again for your utmost patience and kind attention. It's just that it really gets to me when I see how excited the fans become every time there is an interview or article mentioning the possibility of a "SouthLAnd" movie. I would really love to see it happen, and I'm willing to do whatever I can to help it along. Except go on Facebook. I hate Facebook.
I'll send this along to the usual suspects.
So, here's to a "SouthLAnd" movie! And here's to it happening before Ben McKenzie gets too old to leap from rooftop to rooftop. ;-)
Showing posts with label Kickstarter. Show all posts
Showing posts with label Kickstarter. Show all posts
Thursday, May 1, 2014
Friday, April 25, 2014
"SouthLAnd" Pitch Video?
This next post was intended to be about a pitch video for a "SouthLAnd" movie. In many ways, I suppose it could be that. But, as I studied the book lent to me by my daughter Andrea -- Mark Litwak's "Dealmaking In The Film And Television Industry, From Negotiations To Final Contracts" -- it dawned on me that I was getting quite a bit ahead of myself.
For example, I learned that in order to include footage from the "SouthLAnd" TV show in a pitch video -- something that I really wanted to do -- many permissions would have to be obtained, via legal paperwork, from copyright owners, guilds and unions, every person in a clip, and (if the clip contains music) musicians and those who own the rights to the underlying musical compositions.
Gulp...
Frankly, I learned that there are pretty much a gazillion ways from Sunday to be sued for attempting to put together a pitch video, let alone doing a "SouthLAnd" movie in any sort of indie manner.
But, do not fear, I remain undaunted, because I am stubborn, not just a little bit competitive, and (perhaps) a tad bit crazy. I also love "SouthLAnd". And I don't want to let Deb or Stephanie down, because they are dear women who deserve a "SouthLAnd" movie. I have also realized that Ben McKenzie does, in fact, know something about Kickstarter campaigns (go support his sister-in-law's, please), so I will take his comments about the possibility of such a thing more seriously than I did before. (Sorry, Ben. I should never have doubted you.)
So, what do we need in order to begin?
In his book, Mark Litwak explains how most projects are the result of intelligent dealmaking, and he states, "Shrewd dealmakers know how to structure a deal to meet the needs, often unspoken, of all the parties."
In terms of a "SouthLAnd" movie, who might these "parties" be? A few that I can think of are:
1. the fans (if the movie is to be funded using a Kickstarter campaign, the needs of the fans are an essential part of the mix)
2. the studio (Warner Bros.)
3. the creator(s)/executive producer(s) of the TV show/movie
4. the director, cast, and crew
5. the talent agents/agencies, such as CAA
6. the distributor(s)
7. any production company that backs the film in any manner
8. possibly TNT, if they still own any of the rights to the show.
If the needs of all interested parties were intelligently met when putting together a deal for a "SouthLAnd" movie, it could lead to a solidly-funded, successful product (the actual film) and future benefits for all those participating (such as future creative opportunities stemming from having a good, versus a bad, reputation). Wisely meeting the needs of the interested parties would have the added benefit of decreasing the possibility of me (or anybody else) being sued.
What, you may now be wondering, would the "needs of the interested parties" be? There are, of course, financial needs. People and institutions will want to make money off of this project. I don't blame them for this. This is their livelihood. And making money off of one project helps to fund other projects down-the-line. Losing money on this project may rob the interested parties of future creative and professional opportunities. Although, I have also learned from reading Mark Litwak's book that there are times when a project will be given the green light, even when there is a substantial risk that it won't be a money-maker. Why is this? If there is a very good chance that the project will be solid enough creatively to enhance the reputations of those involved with it, those individuals/institutions may be willing to take a financial gamble. Therefore, the "SouthLAnd" movie project -- if it is in any way fiscally questionable -- will have to inspire enormous creative confidence in the Hollywood "Powers-That-Be" if it is to be given the go-ahead. I believe it is possible for this to happen. In fact, I read that TNT's program director chose to keep the series, even when it would have been justified for him to drop it for financial reasons, because he thought it was so outstanding. If it could be shown that a movie would be just as outstanding, it could perhaps garner the necessary support from all interested parties.
Now that I have addressed -- in a small way -- the needs of the interested "Hollywood" parties, what would be the needs of the fans? And by "needs," I mean those beyond the necessity of seeing that Cooper lives and Ben hanging off the side of a building dressed in Kevlar and holding a large automatic weapon and Sammy's amazing pecs and Lydia's bad-ass hand-to-hand combat skills. (Yes. Those would all be required elements in a "SouthLAnd" movie. If I have any say in it, anyway. Which I won't. Oh, well.) Seriously, though, the desires of the fans need to be taken into careful consideration in this project, especially if it is a Kickstarter project. The fans would need to be given satisfaction in how the story-arc and character-arcs are rounded out. They would probably like it if -- by the end of the movie -- they had some hope for the future for their favorite characters. Maybe I am a pie-in-the-sky, Pollyanna kind of lady, but this is my opinion. I will, of course, bow to the wisdom of whomever writes the story, because -- even though the series was often not good for my blood pressure -- it was my all-time favorite show. And that's saying something. Another consideration, as far as fan "needs" go, would be rewards in a Kickstarter campaign. I understand that they are a huge motivator in getting contributions, so they would need to be carefully thought out by those responsible for delivering them. They would need to be awesome enough to inspire people to open their wallets, yet actually doable (when the rubber hits the road).
A further thing I have learned from Mr. Litwak's book is that, these days, the big "....talent agencies such as CAA....exercise considerable influence in developing and packaging projects." This, in my highly inexperienced opinion, could be a key in all of this.
Therefore, I (very tentatively) propose the following:
***That a package be put together -- by CAA or another similar entity -- which includes funding sources (Warner Bros., fans, any other investors), legal needs (copyright searches, if necessary; rights acquisition, if necessary; all other required permissions; etc.), an agreement with Warner Bros. for production, and contracts with writer(s), director(s), cast, and crew. ***
-- OR --
***That Warner Bros., together with the creator(s)/executive producer(s) of "SouthLAnd", put together a production package, which would include a Kickstarter element. This might be the most efficient route, as they have the necessary resources to do so. They probably own most (or all) of the rights to the show.***
Concerning a pitch video, one could be made which would effectively convince CAA, Warner Bros., and the creator(s)/producer(s) of "SouthLAnd" that this is, indeed, a viable project. I would be willing to help write and story-board this video, and I know somebody who has expressed interest in shooting it (an actual professional, no less). In my next post, I will go into more detail about what facts, data, and sentiments such a video would need to express, in order to be convincing.
Again, I apologize for making this presentation via my blog, as I realize it is not the most professional approach.
And, again, I will send copies of this to Deb Craig, Andrea Lynch, Julia Swain, Kiaya Mangan, Regina King, Michael Cudlitz, Shawn Hatosy, and Ben McKenzie.
I do appreciate your time and consideration.
"SouthLAnd" forever. :)
For example, I learned that in order to include footage from the "SouthLAnd" TV show in a pitch video -- something that I really wanted to do -- many permissions would have to be obtained, via legal paperwork, from copyright owners, guilds and unions, every person in a clip, and (if the clip contains music) musicians and those who own the rights to the underlying musical compositions.
Gulp...
Frankly, I learned that there are pretty much a gazillion ways from Sunday to be sued for attempting to put together a pitch video, let alone doing a "SouthLAnd" movie in any sort of indie manner.
But, do not fear, I remain undaunted, because I am stubborn, not just a little bit competitive, and (perhaps) a tad bit crazy. I also love "SouthLAnd". And I don't want to let Deb or Stephanie down, because they are dear women who deserve a "SouthLAnd" movie. I have also realized that Ben McKenzie does, in fact, know something about Kickstarter campaigns (go support his sister-in-law's, please), so I will take his comments about the possibility of such a thing more seriously than I did before. (Sorry, Ben. I should never have doubted you.)
So, what do we need in order to begin?
In his book, Mark Litwak explains how most projects are the result of intelligent dealmaking, and he states, "Shrewd dealmakers know how to structure a deal to meet the needs, often unspoken, of all the parties."
In terms of a "SouthLAnd" movie, who might these "parties" be? A few that I can think of are:
1. the fans (if the movie is to be funded using a Kickstarter campaign, the needs of the fans are an essential part of the mix)
2. the studio (Warner Bros.)
3. the creator(s)/executive producer(s) of the TV show/movie
4. the director, cast, and crew
5. the talent agents/agencies, such as CAA
6. the distributor(s)
7. any production company that backs the film in any manner
8. possibly TNT, if they still own any of the rights to the show.
If the needs of all interested parties were intelligently met when putting together a deal for a "SouthLAnd" movie, it could lead to a solidly-funded, successful product (the actual film) and future benefits for all those participating (such as future creative opportunities stemming from having a good, versus a bad, reputation). Wisely meeting the needs of the interested parties would have the added benefit of decreasing the possibility of me (or anybody else) being sued.
What, you may now be wondering, would the "needs of the interested parties" be? There are, of course, financial needs. People and institutions will want to make money off of this project. I don't blame them for this. This is their livelihood. And making money off of one project helps to fund other projects down-the-line. Losing money on this project may rob the interested parties of future creative and professional opportunities. Although, I have also learned from reading Mark Litwak's book that there are times when a project will be given the green light, even when there is a substantial risk that it won't be a money-maker. Why is this? If there is a very good chance that the project will be solid enough creatively to enhance the reputations of those involved with it, those individuals/institutions may be willing to take a financial gamble. Therefore, the "SouthLAnd" movie project -- if it is in any way fiscally questionable -- will have to inspire enormous creative confidence in the Hollywood "Powers-That-Be" if it is to be given the go-ahead. I believe it is possible for this to happen. In fact, I read that TNT's program director chose to keep the series, even when it would have been justified for him to drop it for financial reasons, because he thought it was so outstanding. If it could be shown that a movie would be just as outstanding, it could perhaps garner the necessary support from all interested parties.
Now that I have addressed -- in a small way -- the needs of the interested "Hollywood" parties, what would be the needs of the fans? And by "needs," I mean those beyond the necessity of seeing that Cooper lives and Ben hanging off the side of a building dressed in Kevlar and holding a large automatic weapon and Sammy's amazing pecs and Lydia's bad-ass hand-to-hand combat skills. (Yes. Those would all be required elements in a "SouthLAnd" movie. If I have any say in it, anyway. Which I won't. Oh, well.) Seriously, though, the desires of the fans need to be taken into careful consideration in this project, especially if it is a Kickstarter project. The fans would need to be given satisfaction in how the story-arc and character-arcs are rounded out. They would probably like it if -- by the end of the movie -- they had some hope for the future for their favorite characters. Maybe I am a pie-in-the-sky, Pollyanna kind of lady, but this is my opinion. I will, of course, bow to the wisdom of whomever writes the story, because -- even though the series was often not good for my blood pressure -- it was my all-time favorite show. And that's saying something. Another consideration, as far as fan "needs" go, would be rewards in a Kickstarter campaign. I understand that they are a huge motivator in getting contributions, so they would need to be carefully thought out by those responsible for delivering them. They would need to be awesome enough to inspire people to open their wallets, yet actually doable (when the rubber hits the road).
A further thing I have learned from Mr. Litwak's book is that, these days, the big "....talent agencies such as CAA....exercise considerable influence in developing and packaging projects." This, in my highly inexperienced opinion, could be a key in all of this.
Therefore, I (very tentatively) propose the following:
***That a package be put together -- by CAA or another similar entity -- which includes funding sources (Warner Bros., fans, any other investors), legal needs (copyright searches, if necessary; rights acquisition, if necessary; all other required permissions; etc.), an agreement with Warner Bros. for production, and contracts with writer(s), director(s), cast, and crew. ***
-- OR --
***That Warner Bros., together with the creator(s)/executive producer(s) of "SouthLAnd", put together a production package, which would include a Kickstarter element. This might be the most efficient route, as they have the necessary resources to do so. They probably own most (or all) of the rights to the show.***
Concerning a pitch video, one could be made which would effectively convince CAA, Warner Bros., and the creator(s)/producer(s) of "SouthLAnd" that this is, indeed, a viable project. I would be willing to help write and story-board this video, and I know somebody who has expressed interest in shooting it (an actual professional, no less). In my next post, I will go into more detail about what facts, data, and sentiments such a video would need to express, in order to be convincing.
Again, I apologize for making this presentation via my blog, as I realize it is not the most professional approach.
And, again, I will send copies of this to Deb Craig, Andrea Lynch, Julia Swain, Kiaya Mangan, Regina King, Michael Cudlitz, Shawn Hatosy, and Ben McKenzie.
I do appreciate your time and consideration.
"SouthLAnd" forever. :)
Monday, April 21, 2014
"SouthLAnd" Movie Pitch
The idea of a "SouthLAnd" movie has been floated on-and-off since the cancellation of the show last year. Both the cast and the fans seem to want this project to happen, so I thought I'd put together a little presentation, in order to more fully explore the possibility of such a film.
"What," you may reasonably ask, "are your qualifications for pitching this project?" None, actually. My background is this: I hold a bachelor's degree in biology from San Francisco State University. I earned a teaching credential from the same institution, and I then taught high school for a couple of years before having my own family. I homeschooled my three children, who have all enjoyed success in college (although, that is more to their credit than mine). Currently, I am a school sponsor for the Young Storytellers Foundation. Aside from my family, this organization is my passion, my joy, and my primary commitment. I fully intend to remain involved with YSF as a school sponsor -- and in any other way in which I can be of help -- for as long as I am able. "SouthLAnd," though, is the television show which I have most enjoyed in my life. And I have some time and a few resources -- now that my children are grown -- to dedicate to the worthwhile endeavor of seeing a movie made.
That being said, here are some of the primary considerations (at least, to my rather uneducated mind) concerning what would be necessary for a "SouthLAnd" film project to come to fruition. I am sure this is in no way complete. I also apologize, as I realize it is rather unprofessional to present these ideas on my blog. It seems, though, to be to be the most effective means at my disposal for communicating with the necessary individuals. I also hope that I shall not be too long-winded.
I have based these ideas on the following sources:
a. the "Veronica Mars" Kickstarter project,
b. Deke Simon's book, "Film and Video Budgets" (Copyright 2010), and
c. the wonderful advice and direction of Andrea Lynch, Kiaya Mangan, and Julia Swain -- film students and budding film-makers.
So, here we go -->
CONSIDERATION #1: Who owns the rights to "SouthLAnd"?
This is probably the key question in even beginning to plan a "SouthLAnd" movie. Who owns the rights to the show? Is it the creator(s)/executive producer(s)? Is it the studio (Warner Bros.)? Is it the network (TNT)? Is it some combination of these? It seems to me that it would be ideal for the person or entity that owns the rights to spearhead a Kickstarter project, if that was the route chosen to secure the necessary funding. To use as an example the "Veronica Mars" Kickstarter, it was run by the creator of the show -- Rob Thomas. Attaching his name to the project and committing to it were probably essential elements in the success of the fundraising effort.
CONSIDERATION #2: What is the goal of the project?
To use again the example of the "Veronica Mars" film project, Rob Thomas explained that he wanted the audience to be satisfied with the conclusion of the story in a way that the final season did not manage to accomplish. He stated, "I wanted to go down swinging on this series." To me, this aptly sums up the desires of those involved with the "SouthLAnd" series. The creators, producers, and cast have all expressed sentiments similar to these. And, to me, this is an admirable goal -- one which I would be willing to support with my time, effort, and resources.
CONSIDERATION #3: Costs and Funding
Looking again at the "Veronica Mars" Kickstarter campaign, the goal was to raise $2,000,000. The amount that was actually raised amounted to $5,702,153 -- with the number of backers being 91,585.
In providing an example of a feature film budget, Deke Simon, in his book, "Film and Video Budgets," allows for a price tag of $5,000,000.
Therefore, it does seem that a budget in the millions is not an unreasonable estimate for the cost of a "SouthLAnd" movie. I know that the show was done on the frugal side, but "frugal" in Hollywood is probably not the same as "frugal" in my little household in San Diego County. Doing a film "on the cheap" may well require a budget of at least $2,000,000.
Lest this seem an incredibly large amount of money, there are many costs that would need to be covered:
a. Above-The-Line Costs -- such as, expenses for story rights (if that needs to happen), script development, and costs associated with paying producers, directors, cast members, and associated staff.
b. Below-The-Line Costs, or all those expenses associated with actual production and post-production -- such as, production staff, extra talent, sound stage, production design, set construction, set operations, special effects, set dressing, wardrobe, make-up and hair, electrical, camera, sound, transportation, location expenses, editing, optical/visual effects, music, post-production sound, titles and graphics, insurance, publicity and marketing.
c. There are also taxes and union expenses to be taken into consideration.
All in all, then, even a movie done with an eye to careful cost-control is still a very expensive undertaking. And doing it too cheaply may sacrifice quality and safety, both of which are out-of-the-question to me.
In thinking about the budgetary considerations, I did like Ben McKenzie's idea of having the story revolve around a specific situation, into which the whole cast is drawn. This would minimize the number of locations required and reduce the need for sound stage use and set construction (although, some would most likely be necessary).
CONSIDERATION #4: Looking More Carefully At A Kickstarter Campaign
As I have said, the individual/entity running a Kickstarter campaign for a "SouthLAnd" movie should own the rights to the show. This would be necessary legally, unless that person/entity gave permission to another person/entity to run the campaign. There is also the possibility of the rights being purchased by another party, but that could be prohibitively expensive and may jeopardize the chances of the movie being a commercial success, as the fans may question whether or not the new owner of the rights would give them the kind of story they had all come to expect from their favorite TV show.
A Kickstarter campaign is also not worry-free. Kickstarter charges a fee of 5% of all funds raised. The funds raised are also considered to be taxable income. And if the project should fail, those who run the campaign are actually legally liable. There is also the issue of rewards for backers, something that project funders have come to expect from Kickstarter campaigns. These can be problematic. Rob Thomas explains that, as rewards, the "Veronica Mars" project gave out 40 Associate Producer credits. These people were flown to LA to see a rough cut of the film and were invited to provide notes. "The Producers Guild did not approve, " Mr. Thomas states. This intrepid man also tells the tale of having to arrange 5000 autographed movie posters for backers. "It's been a 3-day assignment for us, with nine boxes at Kristen's house and 10 boxes at actor Ryan Hansen's house." Other rewards offered to the "Veronica Mars" backers included actual walk-on roles, and even a speaking part for the top backer (if I recall correctly). You may be thinking that this type of reward system is unnecessary, but I beg to differ. Those who run Kickstarter have explained that the amount of funding secured for a project is, more often than not, influenced by the types of rewards offered to backers.
A Kickstarter campaign usually requires a pitch video, as well -- another cost to be considered before any fan-based funding is even secured.
I don't mean to sound excessively negative here. It's just that an examination of these issues underscores -- at least for me -- the complexity of this endeavor and that the person spearheading the campaign should most preferably be the creator/executive producer of the show. Legally, he/she would be the best choice and would bring the reputation/name recognition necessary for such a large undertaking.
CONSIDERATION #5: Selling This Idea To Warner Bros.
I have gathered -- also from studying the "Veronica Mars" campaign -- that somebody with heavy influence would be required to sell the project "hard" (Chris Chulak's word) at Warner Bros. Because, after all, it is the studio which has all the actual "stuff" that would be required for an actual production. I would, of course, be happy to walk the halls of the great WB, pitch video in hand, talking to people. Somehow, though, I don't think that would work out so well. "Who let that crazy homeschooling mom in?" people would be asking each other, probably resulting in my being tossed out of the building by security. Assuming, though, that I had actual permission to enter the halls of that famed studio, I don't know if anyone would listen to me much. So, somebody of greater importance would need to step up. It's not that I wouldn't enjoy talking to people, selling the idea of a "SouthLAnd" movie. That would be great fun for me. And I do live relatively close to LA, which is an advantage.
CONSIDERATION #6: How would the final product reach its target audience?
If this were to be a TV movie, how would it be aired? Would TNT pick it up? Could a distribution deal be done with Netflix? Or would the best avenue of distribution be DVD and VOD? What are the legal/financial issues surrounding each of these distribution methods?
CONSIDERATION #7: Other Funding Options
There are, of course, other funding options besides a Kickstarter campaign. I have read that often film projects, these days, are financed using a variety of sources -- such as a combination of "investor money, state tax credits, loans, and advance sales of.... distribution rights." (Source for this quote is unknown. I wrote it down from my reading, but forgot to note the source.) It may be worthwhile to investigate such a funding mechanism for a "SouthLAnd" movie project. Perhaps a Kickstarter campaign could be part of the total mix. The advantages to this method would be that the diversification minimizes the risk for any one entity and would probably increase the amount of money that could be raised.
Another possible idea is to bring UCLA MFA students into the mix. Perhaps a "SouthLAnd" movie could be incorporated into a project or projects for them. This could help control costs, as well as provide opportunities for the up-and-coming generation of filmmakers. Julia Swain is currently a student in this program (her emphasis is cinematography), so perhaps she could provide some input as to the feasability of this option.
If you are still with me at this point, I would like to thank you for your kind attention. I will use Twitter to get copies of this presentation to Regina King, Michael Cudlitz, Shawn Hatosy, Ben McKenzie, Deb Craig, Andrea Lynch, Kiaya Mangan, Julia Swain, and Kim Sherrell. Who knows? Maybe we can actually do this thing. It would be pretty awesome.
I hope I have not insulted anyone's intelligence here. I am aware that many of you reading this already know these things. It is simply my goal to set everything out for the consideration of all those who might be involved in a fundraising effort.
"What," you may reasonably ask, "are your qualifications for pitching this project?" None, actually. My background is this: I hold a bachelor's degree in biology from San Francisco State University. I earned a teaching credential from the same institution, and I then taught high school for a couple of years before having my own family. I homeschooled my three children, who have all enjoyed success in college (although, that is more to their credit than mine). Currently, I am a school sponsor for the Young Storytellers Foundation. Aside from my family, this organization is my passion, my joy, and my primary commitment. I fully intend to remain involved with YSF as a school sponsor -- and in any other way in which I can be of help -- for as long as I am able. "SouthLAnd," though, is the television show which I have most enjoyed in my life. And I have some time and a few resources -- now that my children are grown -- to dedicate to the worthwhile endeavor of seeing a movie made.
That being said, here are some of the primary considerations (at least, to my rather uneducated mind) concerning what would be necessary for a "SouthLAnd" film project to come to fruition. I am sure this is in no way complete. I also apologize, as I realize it is rather unprofessional to present these ideas on my blog. It seems, though, to be to be the most effective means at my disposal for communicating with the necessary individuals. I also hope that I shall not be too long-winded.
I have based these ideas on the following sources:
a. the "Veronica Mars" Kickstarter project,
b. Deke Simon's book, "Film and Video Budgets" (Copyright 2010), and
c. the wonderful advice and direction of Andrea Lynch, Kiaya Mangan, and Julia Swain -- film students and budding film-makers.
So, here we go -->
CONSIDERATION #1: Who owns the rights to "SouthLAnd"?
This is probably the key question in even beginning to plan a "SouthLAnd" movie. Who owns the rights to the show? Is it the creator(s)/executive producer(s)? Is it the studio (Warner Bros.)? Is it the network (TNT)? Is it some combination of these? It seems to me that it would be ideal for the person or entity that owns the rights to spearhead a Kickstarter project, if that was the route chosen to secure the necessary funding. To use as an example the "Veronica Mars" Kickstarter, it was run by the creator of the show -- Rob Thomas. Attaching his name to the project and committing to it were probably essential elements in the success of the fundraising effort.
CONSIDERATION #2: What is the goal of the project?
To use again the example of the "Veronica Mars" film project, Rob Thomas explained that he wanted the audience to be satisfied with the conclusion of the story in a way that the final season did not manage to accomplish. He stated, "I wanted to go down swinging on this series." To me, this aptly sums up the desires of those involved with the "SouthLAnd" series. The creators, producers, and cast have all expressed sentiments similar to these. And, to me, this is an admirable goal -- one which I would be willing to support with my time, effort, and resources.
CONSIDERATION #3: Costs and Funding
Looking again at the "Veronica Mars" Kickstarter campaign, the goal was to raise $2,000,000. The amount that was actually raised amounted to $5,702,153 -- with the number of backers being 91,585.
In providing an example of a feature film budget, Deke Simon, in his book, "Film and Video Budgets," allows for a price tag of $5,000,000.
Therefore, it does seem that a budget in the millions is not an unreasonable estimate for the cost of a "SouthLAnd" movie. I know that the show was done on the frugal side, but "frugal" in Hollywood is probably not the same as "frugal" in my little household in San Diego County. Doing a film "on the cheap" may well require a budget of at least $2,000,000.
Lest this seem an incredibly large amount of money, there are many costs that would need to be covered:
a. Above-The-Line Costs -- such as, expenses for story rights (if that needs to happen), script development, and costs associated with paying producers, directors, cast members, and associated staff.
b. Below-The-Line Costs, or all those expenses associated with actual production and post-production -- such as, production staff, extra talent, sound stage, production design, set construction, set operations, special effects, set dressing, wardrobe, make-up and hair, electrical, camera, sound, transportation, location expenses, editing, optical/visual effects, music, post-production sound, titles and graphics, insurance, publicity and marketing.
c. There are also taxes and union expenses to be taken into consideration.
All in all, then, even a movie done with an eye to careful cost-control is still a very expensive undertaking. And doing it too cheaply may sacrifice quality and safety, both of which are out-of-the-question to me.
In thinking about the budgetary considerations, I did like Ben McKenzie's idea of having the story revolve around a specific situation, into which the whole cast is drawn. This would minimize the number of locations required and reduce the need for sound stage use and set construction (although, some would most likely be necessary).
CONSIDERATION #4: Looking More Carefully At A Kickstarter Campaign
As I have said, the individual/entity running a Kickstarter campaign for a "SouthLAnd" movie should own the rights to the show. This would be necessary legally, unless that person/entity gave permission to another person/entity to run the campaign. There is also the possibility of the rights being purchased by another party, but that could be prohibitively expensive and may jeopardize the chances of the movie being a commercial success, as the fans may question whether or not the new owner of the rights would give them the kind of story they had all come to expect from their favorite TV show.
A Kickstarter campaign is also not worry-free. Kickstarter charges a fee of 5% of all funds raised. The funds raised are also considered to be taxable income. And if the project should fail, those who run the campaign are actually legally liable. There is also the issue of rewards for backers, something that project funders have come to expect from Kickstarter campaigns. These can be problematic. Rob Thomas explains that, as rewards, the "Veronica Mars" project gave out 40 Associate Producer credits. These people were flown to LA to see a rough cut of the film and were invited to provide notes. "The Producers Guild did not approve, " Mr. Thomas states. This intrepid man also tells the tale of having to arrange 5000 autographed movie posters for backers. "It's been a 3-day assignment for us, with nine boxes at Kristen's house and 10 boxes at actor Ryan Hansen's house." Other rewards offered to the "Veronica Mars" backers included actual walk-on roles, and even a speaking part for the top backer (if I recall correctly). You may be thinking that this type of reward system is unnecessary, but I beg to differ. Those who run Kickstarter have explained that the amount of funding secured for a project is, more often than not, influenced by the types of rewards offered to backers.
A Kickstarter campaign usually requires a pitch video, as well -- another cost to be considered before any fan-based funding is even secured.
I don't mean to sound excessively negative here. It's just that an examination of these issues underscores -- at least for me -- the complexity of this endeavor and that the person spearheading the campaign should most preferably be the creator/executive producer of the show. Legally, he/she would be the best choice and would bring the reputation/name recognition necessary for such a large undertaking.
CONSIDERATION #5: Selling This Idea To Warner Bros.
I have gathered -- also from studying the "Veronica Mars" campaign -- that somebody with heavy influence would be required to sell the project "hard" (Chris Chulak's word) at Warner Bros. Because, after all, it is the studio which has all the actual "stuff" that would be required for an actual production. I would, of course, be happy to walk the halls of the great WB, pitch video in hand, talking to people. Somehow, though, I don't think that would work out so well. "Who let that crazy homeschooling mom in?" people would be asking each other, probably resulting in my being tossed out of the building by security. Assuming, though, that I had actual permission to enter the halls of that famed studio, I don't know if anyone would listen to me much. So, somebody of greater importance would need to step up. It's not that I wouldn't enjoy talking to people, selling the idea of a "SouthLAnd" movie. That would be great fun for me. And I do live relatively close to LA, which is an advantage.
CONSIDERATION #6: How would the final product reach its target audience?
If this were to be a TV movie, how would it be aired? Would TNT pick it up? Could a distribution deal be done with Netflix? Or would the best avenue of distribution be DVD and VOD? What are the legal/financial issues surrounding each of these distribution methods?
CONSIDERATION #7: Other Funding Options
There are, of course, other funding options besides a Kickstarter campaign. I have read that often film projects, these days, are financed using a variety of sources -- such as a combination of "investor money, state tax credits, loans, and advance sales of.... distribution rights." (Source for this quote is unknown. I wrote it down from my reading, but forgot to note the source.) It may be worthwhile to investigate such a funding mechanism for a "SouthLAnd" movie project. Perhaps a Kickstarter campaign could be part of the total mix. The advantages to this method would be that the diversification minimizes the risk for any one entity and would probably increase the amount of money that could be raised.
Another possible idea is to bring UCLA MFA students into the mix. Perhaps a "SouthLAnd" movie could be incorporated into a project or projects for them. This could help control costs, as well as provide opportunities for the up-and-coming generation of filmmakers. Julia Swain is currently a student in this program (her emphasis is cinematography), so perhaps she could provide some input as to the feasability of this option.
If you are still with me at this point, I would like to thank you for your kind attention. I will use Twitter to get copies of this presentation to Regina King, Michael Cudlitz, Shawn Hatosy, Ben McKenzie, Deb Craig, Andrea Lynch, Kiaya Mangan, Julia Swain, and Kim Sherrell. Who knows? Maybe we can actually do this thing. It would be pretty awesome.
I hope I have not insulted anyone's intelligence here. I am aware that many of you reading this already know these things. It is simply my goal to set everything out for the consideration of all those who might be involved in a fundraising effort.
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