Everything I Know About Producing, Pt.2

Yesterday, we ran part one.  All of this is courtesy of Andrew Einspruch and Screen Hub. And of course Screen Australia who brought me to Sydney for a two day lecture last month. Today: part two.  (P.S.  There are 98 more parts to this lecture but it requires a few more trips to Sydney before I can spit it out!)

by Andrew Einspruch

"For Hope, who is a producer is pretty simple. It is the person there from the beginning of the project to its end." Daunting but true, and Andrew Einspruch tracked his definition for being there down to his feeling for percentages. 

As Ted Hope made abundantly clear on the second day of Hope for Film, effective feature film producers have to know a lot of stuff, and have to keep at it to learn more. Here’s a brief list of things he rattled off:

- Dramaturgy and script development
- Breadth of available actors and crew
- How to maintain the line during production
- How to elevate a project during its creation
- A solid business and financial background in the media space so you can determine the value of what you are creating, and then do that evaluation.
- Who the foreign sales companies are and their reputations (Hope’s own list has 72 on it).
- The meanings of the various film festivals, and what it means to launch at one vs. another.
- How to manage the 90+ territories that are out there (generally sold as about 60).
- The different digital platforms that are out there, and how they can help you sell your film.
- Having big opinions on marketing and distribution, and the wisdom to know you are not always right.
- What brings people together to create an audience.

It is an overwhelming list of knowledge and understanding. “The nice thing is that there is probably no one out there that can answer all those questions,” said Hope. “But it doesn’t stop you from striving to hit it and to try to have the best practices available to you.” 

As a producer, you also have to think through contingencies. “Dark paranoia is the producer’s best friend,” said Hope. That is, your ability to fantasise about how things can go horribly wrong helps you create strategies to prevent those problems.

Hope spoke of trying to determine whether a script was ready to go or not. “No one ever says, ‘I love that script. I wish there was more of it.’” When his collaborators think the project is ready to go out, he often exerts one more step, and that is to try to cut another 10% of the script and of the budget - more than anyone thought possible. “The shorter a project is, the more inevitable it is that it will happen, and the more people believe that script is ready to be made. But good luck. It’s hard.”

Some of his guidelines for working out if the script is ready include:

- You’ve cut that extra 10%.
- In hindsight, you see the intent of every action and every word is understandable and explainable.
- You now what the characters are truly feeling throughout, and expecially at the end.
- All action is influenced by action that has occurred before it or by their psychological makeup.
- There is specificity on the page throughout the process. You are world-building when you make a movie, so have you as the scriptwriter determined what makes up the world, and done so with brevity and poetry, making it a good read?

Hope emphasised the need for the producer to totally be across the script, because that is part of what he described as building a sense of inevitability around the film (mentioned in the previous article). “Before go out and raise money for your film, before you start to submit it, really try to drill down and understand your personal emotional connection to the characters, to the themes,the way it’s being told, what the directors wants to accomplish - know it better than you think anyone else can know it. That is how you communicate the inevitability of that movie being made,” said Hope.

Hope pointed to one of his blog posts, The 99 Recommended Steps For Making Good Movies. It is a good template for doing what you can to make sure the movie is a decent one. Here are the first twelve steps:

1. Maintain wonder & love for the world & most/some of the people.
2. Recognize the barriers & be empowered by my desire for change.
3. Find an inspiring idea & the correct collaborator for it.
4. Maintain love & respect for the film industry.
5. Develop script.
6. Fall in love with project.
7. Get non-financier, non-buyer industry types to give feedback on script.
8. Maintain wonder & love for the process.
9. Further develop script.
10. Maintain respect for collaborator(s).
11. Identify audience & market for project.
12. Enhance my enthusiasm for potential of the results of audience engagement with ambitious cinema.

It goes on from there, all the way to 99, which is, “Do it all over again, but do it a little bit differently.” It is not all hard work. Step 80 is “Celebrate.”

A fair bit of time was given to the topic of the producer-director relationship. Hope likes to work with a range of directors, because that feeds him as a producer. But it has to be a good fit. Some directors want a collaborator - someone to tell them the truth and work toward what is best for the film. Other directors want a producer is a general, executing what the director wants and reinforcing the righteousness of their decisions. Hope said he uses the book The Art of War, which some people have adopted as a kind of filmmaking manual, as a kind of litmus test. He’ll mention the book, and if the director says, “That’s it!”, he knows that is not someone he wants to work with.

He spends time determining if the director is compatible. Can you get a sense of their values? How will they perform under pressure. Do they have a significant other that has lasted a while? Can you have an enjoyable dinner with them? What are they like if you invite them to your home for dinner and to meet your family? How does the person present themselves on social media platforms? Or, as his friend, producer Christine Vachon, half-jokingly asks, “Do they have a long-term, meaningful relationship with a living thing?”

All of these clues help him work out if he can work with a particular director.
Hope also talked at length about the integrity of the producer credit. Too often, people get producing credits, but don’t really act as producers and you see the result when there are eight (or fifteen) people credited for producing a film. 
For Hope, who is a producer is pretty simple. It is the person there from the beginning of the project to its end. That’s it. His rule for himself is that if he dips below 50% of being there for the film, he does not deserve the credit “producer”, and would more likely opt for executive producer. “If everyone tried to live up to that line of 50% or more engagement being required to get that credit, we would have a credit that actually means something.”

 

This is the second part of a two part article by Andrew Einspruch for ScreenHub.  If you are a member of that organization you can read the whole thing here.

Screen Hub is “The daily online newspaper for Australian film and television professionals.” Their web site for the link is http://www.screenhub.com.au.

Andrew Einspruch’s indie Australian film company Wild Pure Heart Productions has created the feature film Finding Joy and the documentaries 2012: This Sacred Earth and 7 Days with 7 Dogs, and is currently working on the low budget feature The Farmer. Andrew can be found on Twitter as@einspruch and at andreweinspruch.com.


Everything I Know About Producing, Pt. 1

As you might know, I was in Sydney,Australia courtesy of Screen Australia to do a Two Day Workshop on Producing, entitled HopeForFilm. Screen Hub journalist Andrew Einspruch took careful notes -- and he and Screen Hub kindly agreed to share it with you.  Thanks.  Here's Day One:

by Andrew Einspruch

Let’s start with how the movie world has changed. As Ted Hope phrased it, the first hundred-plus years in the film world were marked by three characteristics that no longer apply. “The business was built around a belief in the scarcity of product, that we have to control where people see and engage with that content, and that the only way they will do is impulsively, without education or knowledge beforehand.” 

This antiquated model has fallen over. Today’s producer faces a world marked by three opposite characteristics; superabundance, total access, and informed choice. According to Hope, your movie is not just squaring off against 50,000 other features produced in the world annually (in a market that can handle, at best, around 500-600). Thanks to the digitisation of the world’s back catalogue, your humble film is also competing again Kurosawa and Fassbinder and Scorsese and all of the other greats (plus the not-as-greats) across time. That ignores the bazillion hours of material uploaded to YouTube with every breath you take.

Basically, you’re screwed.

Well, maybe not.

According to Hope, if you can rejig how you think about the work, culture, and about community, there is plenty of opportunity. If you target a narrower audience than is typical for the average Hollywood franchise, and address things that they want, and if you can reach them, then you have a chance. The idea of moving people from being an audience to being more of a community is a core concept. Think about the first screening of a new feature film. Who usually gets to see it first? Family and friends. And what is their usual response? It is warm and supportive, because that is how they want to treat you. So what about expanding this to a wider set of people? If you can engage your audience along the way, and make them more like your family and friends, then you can give them the same chance to embrace you and your work warmly when it comes out.

This idea is part of what Hope described as a new definition of what cinema is. An inveterate maker of lists, Hope gave 14 elements to what a modern definition of cinema (or the cinema process) should include, and that if you truly address all of these components, you would be making cinema for the current times. The first aspects are the familiar ones taught in every film school:

1. Development
2. Discovery (this is where the conversation about a film starts, the generation of audience awareness)
3. Production
4. Post -production
5. Marketing
6. Distribution

But the other eight are perhaps less obvious additions to the definition:

7. Engagement and aggregation, where you engage the audience and bring members of a community together.
8. Extensions, versioning and iterations, where you allow the film to evolve over time, and repurpose it for different experiences.
9. Participation with the audience, which is where you engage directly with your community.
10. Collaboration with other artists – think mashups.
11. Appreciation, where you can provide people materials that help them understand and engage with the film – a function that used to be the realm of critics, but has fallen away.
12. Presentation, where the film is changed to reflect the context where it is seen – think the difference between cinema viewing and mobile phone viewing.
13. Value , where the audience gets value from the film beyond mere distraction.
14. Transitioning and migration, where you take the audience member and move them from one experience to another, say from watching a documentary about an endangered species to actually doing something about it.

Hope also encouraged producers to think about how they fit into the world of film business and where their loyalties lie. Is it to the business? To culture? To themselves? To the film? To the community? Where your priorities are will affect what decisions you make, and how you engage with the filmmaking process.

Hope advocates this kind of self-knowledge as a key having a long, successful career in the business. “This is the most important advice I can give, and I am always surprised by how little it is done,” said Hope. “It has helped me tremendously to remain mindful in the intense chaos of getting your work made, produced, completed, and distributed. And that is, simply, trying to remember what it is you love about movies. What defines, for you, what makes a movie great, or better than the rest?”

This question lies close to Hope’s heart, as it was through the process of working out the elements of a great film that he fell in love with his wife. The result? Another list. Here are the first dozen elements on Hope’s own list, and you can see the rest in the article on Hope posted called 32 Qualities of What Makes a Good Film, where he goes into detail on each.

1. Ambition
2. Originality
3. Innovation
4. Integrity to the Concept
5. Discipline
6. Truthfulness
7. Joy of Doing
8. Singularity
9. Communication of Themes
10. Clarity of Intent
11. Synthesis of Style and Themes
12. Application of Techniques

The whole list is worth checking out, and provides excellent food for thought. But more than that, Hope uses these qualities as a way to work out what is going right or wrong on a project, as well as providing a foundation for his work in development.

Hope spoke at length about the various qualities that a producer needs, like the ability to manage relationships (whether with creatives, financiers, or sales agents and distributors). One key is to understand how to control the flow of information. Hope learned the value of this from producer Scott Rudin (The Social Network, No Country for Old Men), who often asks, “What good will come from doing this now?” Managing the flow of information can help create a sense of urgency around a project. Holding on to certain pieces of information (such as who might be attached to a project) can help you control the perception others have of what you are doing.

Returning to the quandary of how to produce in this era of superabundance, Hope spoke of retaining rights and addressing niche audiences. But doing so means the responsible filmmaker must work to lower budgets. That is because the returns, while more likely to flow to the producer, will be smaller than a Hollywood tent pole franchise. 

But how do you produce low budget features effectively? By understanding that micro-budget filmmaking is a different beast. You are not competing with Hollywood. You are going into different territory. In that territory, you have to work faster and smarter. Many, if not all, of your actors will probably suck, or at least be inexperienced. Your stories will be character-driven, and probably have a contemporary setting. You have to shoot very, very fast, using fewer takes and/or setups. And you have to learn to make assets of what others might see as liabilities (like flat acting or crummy sound or limited locations).

Here’s another list: >The Good Machine No Budget Commandments. Good Machine was Hope’s first company, and these rules help him guide micro-budget filmmaking:

1. Write to direct.
2. Write for what you know and for what you can obtain. 
3. Remain flexible.
4. Choose an aesthetic that will capitalize on the lack of money.
5. Don’t over strive.
6. Don’t limit yourself to too few locations.
7. Use everything more than once.
8. Write for a very limited audience – your closest friends.
9. Write to cut it back later.
10. Contradict the above commandment and only write what you know you absolutely must shoot.
11. Keep it simple.
12. Keep it intimate.
13. Make the most of a day’s work.
14. Ignore everything listed above if it doesn’t further the story.

The above points are fleshed out in the full article.

The age of superabundance also means that films can be different lengths. “70 minutes is the new 80, which is the new 90,” said Hope. Movies can be shorter, and we can leave behind the 90 minute construct, which Hope said was based on selling popcorn and what the human bladder could tolerate.
Hope is also a big believer in sharing, pointing to Hollywood’s tendency to celebrate success, hide failure, and hoard information. He noted that in other fields (like science), failure is a key part of eventual success. Scientists try things, make mistakes, and share their information so that science can move forward. “If we want to get it right, if goal is to get out of the situation we are in now where good movies don’t’ get seen, because that’s the fact, then we have to start to work together, make mistakes, share the information, and move it forward to find what the new model is,” said Hope.

He talked at length about how to get your script read, but prefaced his comments by asking why, in this day and age, you would want to have that happen. “Really, just go make it. You can make movies for $50,000. So why look for someone’s approval? You want to get a script read? Go make a movie. You should be making a lot of films. Go make your movie.”

Hope pointed to an article that set the tone called I Will Not Read Your Fucking Script by Josh Olson. Having said all that, know that someone like Hope gets five scripts or more a day, and that his house and office are littered with unread scripts. He suggest that if you want someone to read yours, you should first reach out to them through social media or blog commenting. Establish yourself as someone who is interested in who that person and what their interests are. Figure out how you might be able to help them, but at least recognise that they are a human being who is overwhelmed with scripts. Understand what their life is like. Do the work to get to know the person ahead of time, and then personalise your approach to them and treat them like a human being.

Oh, and use proper script layout (including font sizes and margins), grammar and spelling. It matters. 

Plus, shorter scripts are more likely to get looked at. Hope said he would read 80 pages before he read 120.

And don’t send cookies or be cute. That does not come across as professional.

Finally, there’s a word you want to build into your vocabulary as a producer: “inevitability”. Hope encouraged everyone to try to build in a sense of inevitability to their films, whether it is during development or packaging or financing. The feeling others should get is that this is a project that is going to get made, and that there is an opportunity for them to be part of it, but that won’t last forever.

How do you create that sense of inevitability? “Hard work,” said Hope. It is about being prepared, progressing the project, and having answers to the questions that might get asked. 
What does that hard work look like? There is no one answer, but it could include (but not be limited to) things like:

• Have look book.
• Have all of your short documents – log lines, one paragraph synopses, one-page synopses, three-page synopses.
• Shoot a mood reel.
• Know your ten preferred actors in order of preference.
• Have a film budget.
• Have film schedule.
• Have your foreign sales estimates.
• Know what kind of deal you want for the movie.
• Know what comparable films are out there are.
• Know your audience.
• Know what festivals you want to target, why, and in what order.
• Know when you want to shoot, and where.

All of these things can help create the sense of inevitability that others will find compelling.

This is the first part of a two part article by Andrew Einspruch for ScreenHub.  If you are a member of that organization you can read the whole thing here.

Screen Hub is “The daily online newspaper for Australian film and television professionals.” Their web site for the link is http://www.screenhub.com.au.

Andrew Einspruch’s indie Australian film company Wild Pure Heart Productions has created the feature film Finding Joy and the documentaries 2012: This Sacred Earth and 7 Days with 7 Dogs, and is currently working on the low budget feature The Farmer. Andrew can be found on Twitter as@einspruch and at andreweinspruch.com.


The Best Way For An Independent Filmmaker To Make Money?

When I was in Sydney, Australia to lead a two day workshop on producing for Screen Australia, I was asked by Screen Hub journalist Andrew Einspruch what the best way for an indie filmmaker to make money these days. I replied:

I think the question should probably be something a little bit different, or they’re going to get trapped along the way.

The answer to that question is finding the aggregated and underserved communities and addressing them directly with what they are starved for. That has kinda been the history of independent film, at least in the States. The clearly definable demographics. The rise of New Queer Cinema was not just a cultural phenomenon, but it was a wise business practice. It was a group of people with high discretionary income that were already gathered, that had ways to address them directly and engage them socially.

It works the same, essentially, for Tyler Perry. Middle class, church-going family black audience in America being underserved for years. And he had ways to reach them directly and was well rewarded for it.

Even movies as diverse as Fahrenheit 911 and Passion of the Christ – same sort of thing: underserved, pre-collected audiences with ways to address them directly.

And now, we can drill that down, like single liberal-leaning wooden boat enthusiasts living on the coast. You can reach those people. And if they’ve been underserved, and they gather, then providing them more of what they want or what they can’t get hold of is good business practice – as long as you are basing your costs around what the size of that audience is. You need to factor all that in. That’s how a filmmaker can make money.

But, I’m not sure that would be rewarding on a long term basis for the creative spirit. The good business practice in the long run is very similar to what is also most nourishing of that creative spirit. And that is asking of one’s self, “How do I maintain a productive, prolific creative life? How do I make sure that I produce material on a regular basis?” And I think that is sound business practice, as well as being something that will become rewarding.

Not all of that content is going to be monetised. Most of it is going to be used to engage with audiences. By focussing on having an on-going conversation, we reward and transition audiences into different forms of engagement.

For example, the music business thought, at one time, that their business was on the pre-recorded product, and things like live shows were ways to drive greater sales of that product. Now they’ve turned that 180 degrees around, recognising that in a world of cultural abundance, and an excess of leisure time options, people crave the authentic and unique experience.

If we are able to provide content and engagement to a core audience that starts to identify with that relationship as part of their identity, the breadth and variety of those forms of engagement also come with a different level of pricing. We can create engagement that is also event-based, even if our main form of expression is linear and pre-recorded.

This is the first question in an interview that I did with Andrew Einspruch for ScreenHub.  If you are a member of that organization you can read the whole thing here.

Screen Hub is “The daily online newspaper for Australian film and television professionals.” Their web site for the link is http://www.screenhub.com.au.

Andrew Einspruch’s indie Australian film company Wild Pure Heart Productions has created the feature film Finding Joy and the documentaries 2012: This Sacred Earth and 7 Days with 7 Dogs, and is currently working on the low budget feature The Farmer. Andrew can be found on Twitter as@einspruch and at andreweinspruch.com.


Podcast: Everything I Know About Producing (A Start)

Courtesy of Screen Australia, you can now have access to everything I know about producing.  I gave two days of lectures in Sydney at the end of August, and the mic ran into a recording device.  It's just audio so you don't get to see my colorful outfits or all the nifty slides I never prepared, but it is the next best thing to being there.

You can get them here.

Episode 1: Grasping The New Paradigm

Episode 2: A New Business Model For Indie Film

You can also download them from the iTunes store here.

But I have to warn you: the lectures were each 6 hours long.  Screen Australia have done us the courtesy of keeping each one to around 30 minutes.  We did not want the liability of blowing your mind.  You will have to come to a class sometime for that privilege.

Hey Australians! Get Paid To Collaborate & Learn With Me!

If you missed it on Screen Australia's website, allow me to reprint it here...

"Screen Australia is again pleased to offer an outstanding opportunity for a producer at an early stage in their career with a bespoke producer internship. Following earlier internships with Film4, Belladonna and Killer Films, we are pleased to announce applications are now open for the Ted Hope Producer Internship.

Ted Hope is one of the most respected and dynamic independent producers in the US. The successful applicant will receive $40,000 from Screen Australia to support their six-month placement working with Ted at his New York-based production company Double Hope Films, commencing in August 2012.

Emerging in the early 1990s with his phenomenal company Good Machine, Ted has remained at the forefront of new technologies, consistently delivering vital and exciting work. He has produced and executive produced over 40 films, including 21 Grams, In the Bedroom, Happiness and American Splendor. More recently he produced Martha Marcy May Marlene, Collaborator and Dark Horse. With a keen eye for strong talent, Ted has 21 ‘first features’ under his belt, including those of Alan Ball, Todd Field, Michel Gondry, Hal Hartley and Ang Lee.

The ideal candidate will have an interest not only in development and production, but also in social media, marketing and distribution. In addition to his busy slate of films, Ted Hope is currently developing new distribution models for independent filmmakers and is considered a leading innovator in this field. The successful applicant stands to gain invaluable skills and experience in numerous areas of the independent film sector in the US.

Screen Australia is inviting applications from talented producers who have either one feature film credit, or who have produced at least two outstanding short films. The guidelines and application form are available at www.screenaustralia.gov.au/TedHopeinternship

The application deadline is Friday 22 June 2012.

For further information contact the Development Department on 1800 507 901 or development@screenaustralia.gov.au"

Co-Production Studies: Strategic Partners Forum

Guest post by Yael Bergman A few days at Strategic Partners, Halifax, Canada and a crash course at International Co-Production Financing.

I saw Ted in Toronto a few days before heading to Strategic Partners in Halifax, Nova Scotia, Canada. He suggested I write on his blog with what went on there. I am reporting back now...

I write this as an Australian producer who recently produced a romantic comedy in Australia called I Love You Too.  It was completely financed within Australia, largely with Australian and state government investment, and the tax rebate (up to 40 per cent of Australian spend). We are fortunate in Australia to have this public funding as a resource, and whilst it is perpetually competitive, it is the way most film and television is made in Australia. It sustains the industry and ensures we continue to tell Australian stories.

My producing partner, Laura Waters, who is originally from Colorado but has lived in Australia for almost 20 years, regularly comments that she can't believe governments actually give you money to develop and make stuff here. Well, it's true!

To some independent American producers, this must sound like the gold pot at the end of the rainbow, but the reality is it's a limited pool and the funding bodies (and consequently, the producers) are always trying to work out a way to make it stretch further.

One good way is via co-producing, i.e. we split the cost of making a project over two or more countries that has a vested interest, and then we can each claim it as our own as a “national film”. Arguably, the project should be culturally relevant to each producing country and there needs to be a fair split between creative elements and financial contribution, but on the whole, with a bit of juggling, it can work very well if the project calls for it.  (NB: This applies for international producers entering into an official co-production with Australia, the project becomes automatically entitled to the Producer Offset rebate as an Australian project, up to 40% of Australian spend.)

Australia has official co-production treaties or Memorandums Of Understanding (MOU) with countries such as Canada, China, Singapore, Israel, NZ, UK and most European countries. Canada has treaties with more than 50. Unfortunately for the American independent producer community, no official treaties exist with the US. If you are an American independent producer and "that sucks" has just crossed your mind, be aware that its not all upside - dealing with bureaucracies to make films is often slow and time-consuming, which is time and energy that could otherwise go into the creative process… but nonetheless, we are absolutely grateful it exists.

The state of play is, however, changing. As the marketplace gets tighter and more competitive, there is a general appreciation, certainly within Australia anyhow, that we need to open up to wider markets, including the US. We just need to be creative in how we do it.

So, it was with much curiosity that I noticed the organizers of Strategic Partners, the international co-production market in Halifax, Nova Scotia, Canada, from Sept 16-19 (which I attended thanks to support from my local state funding body, Film Victoria…) decided to spotlight the USA, as well as Germany, as potential co-production partners. Despite having no official treaty, is there a way international producers can partner up with US producers? Apparently yes. While the spirit of traditional co-productions is to align the interests of international producers whose domestic markets are too small to compete with the US in the global marketplace, it appears that unofficial alliances between US and other countries, are becoming more accepted, especially via co-development and co-financing. (Note: in Australia, Screen Australia has launched a development program where they will match development funds up to $50,000 with funds from a third party with marketplace credibility i.e. financier, sales agents, distributors, broadcaster, etc. who can be from any country).

So within this context, over 3 and a half days at Strategic Partners in Halifax, 180 international producers, financiers, distributors, TV executives, sales agents, and representatives from national and state Canadian funding agencies were matched in 30 minute meeting blocks at tiny tables in a large hotel ballroom to talk about projects, possible collaborations, exchange information and hopefully find some common ground. These sessions were interspersed with inspiring guest speakers who generously shared their war stories and views on the current state of play. Christine Vachon spoke about the challenges of working with first time filmmakers in this risk averse environment, the downward pressure on budgets, and the opportunities opening up within the digital age, but her overarching message was that its always been tough and we keep getting used to the changes, so we just need to keep producing creatively (Christine is now producing a TV series for the first time for HBO with Todd Haynes directing, based on the original book of Mildred Pierce.)

Other keynote speakers included Toronto-based producer Laszlo Barna (whose company Barna-Alper Productions was acquired by E1 Entertainment in 2008) who was big on the message that Canada’s potential as a co-production partner is still underexploited.

Another Canadian producer and EP, co-production treaty expert and former law professor, Martin Katz, also shared his experiences, and among his many anecdotes, he shared how financing on Hotel Rwanda came together just days before cameras rolled with the last piece from Italy conditional upon casting at least one Italian role, so the writers wrote in an Italian Priest. Katz admitted they chose not to finance Hotel Rwanda as an official Canadian co-production because European casting rules are more flexible than Canadian.

There was a session on how to wrangle money from private investors. Essentially, the panelists concluded that money is still around and wealthy investors who have been waiting out the GFC, are poised to come back in given the right sort of project compatible with their philosophical and/or risk profiles. One panelist remarked investors like to feel good about projects they invest in, so it isn’t always about a financial return. There was also talk about how to creatively finance today by breaking down the rights, and assigning values to rights such as digital, soundtrack and itunes rights which traditionally haven’t offered much value.

Continuing the idea of rights, there was a fascinating session tightly facilitated by Janet Brown of Cinetic Rights Management on the current state of digital revenue, especially cable and broadband VOD, game outlets such as X-Box, Wii and Playstation, and mobile rights. Whilst this space is becoming increasingly significant as a potential content revenue stream, and the major companies are aggressively entering it, the golden goose example of how everybody will benefit over the traditional model is still elusive.  When it finally happens, and it is close, the landscape is destined to change…

By the end of the few days at SP, I felt as though my own personal landscape had changed in view of financing, producing and collaborating on film and television projects with global partners.  It’s a big world and partnering can open up creative choices. Can co-producing help us tell bigger stories to more people?

Of course, there are a million questions some of which are technical, and many of which are creative,

(…is there a place for local stories in global partnerships? How do we make sure bureaucratic box ticking doesn’t get in the way of creative decisions?) but like all aspects of producing, naturally it comes down to whatever works best for the project.

Personally, I love the idea of potentially reaching bigger audiences by working with talented storytellers from around the world with something in common to say. It seems, today at least, that it has never been easier to do it.

Yael Bergman has been working with Melbourne-based production company Princess Pictures ("Summer Heights High", "We Can Be Heroes", romantic comedy "I Love You Too"), developing and producing projects for film and television since 2004. She also co-wrote and co-produced the low budget feature film "Love and Other Catastrophes" which sold to Fox Searchlight.