Have questions about using the New Media agreement on a feature-length movie? Want to know what is and isn’t negotiable under this agreement? Is there a bond? Is there a minimum? What happens if I sign with a VOD or Blu-ray distributor?
It’s understandable that you may not want to attract undue attention from SAG-Aftra before you know the lay of the land. Here’s how to get all your questions answered accurately and discreetly.
We’ve all heard it a million times. Nothing cues amateur filmmaking faster than bad sound. And a good dialogue recording mostly comes down to the proximity of the mic to the actor.
This article was originally published at Film School Rejects.
The other day I saw a discussion on Facebook about whether or not filmmakers should watermark the screeners they send to film festivals. Filmmakers generally seemed to be for it. Festival personnel seemed generally opposed, some citing it as a red flag for the filmmaker’s naiveté – like the people who ask you to sign an NDA before reading their screenplay. In the past, I never felt that obscuring the picture with some text was going to stop the sort of person who was set on pirating my movie, so I didn’t bother with it. Besides, I might argue I had yet to make a movie someone would want to pirate.
It can be a long, anxious walk up to the front of the theater after screening your movie to a roomful of people you don’t know. The anxiety doubles for me when conducting the Q&A myself. But I’ve come up with a little game plan and some rules to follow that make it flow a little easier. Perhaps in the comments you can share some ideas of your own.
This has nothing to do with filmmaking, but I have a tip for my carnivorous friends in Los Angeles. A little change of pace for your BBQ grill.
This is something I was turned on to a couple years ago. And anytime we’re invited to a BBQ, my wife and I try to pick some of this stuff up. It’s always a hit. Last time, we brought two pounds of marinated rib-eye and it was gone in a few minutes.
There is a supermarket in Koreatown called Assi Super at 3525 W 8th St, Los Angeles, CA 90005 that has a case of amazing marinated chicken, beef, short ribs, and pork in the back of the store. Sells for $3 to $5 per pound.
Do yourself a favor this summer, pick up a variety (the marinated rib-eye is my favorite) and throw it on the grill next weekend. You won’t know what hit you.
How about you? Got any gems around town you care to share?
Three Questions is an ongoing series to get filmmaking-related advice and insight from the people actually getting their hands dirty. Not from the chickenshit naysayers and posers on the sidelines… but from the people who can speak from hard-won experience, with the scars to prove it.
Paul Osborne is the writer and director of the award-winning thriller FAVOR, which is now available on iTunes, VOD and DVD everywhere. He previously directed OFFICIAL REJECTION, the acclaimed documentary about film festivals, wrote the indie feature TEN TIL NOON and is an occasional contributor to Moviemaker Magazine and Film Threat. Follow him on Twitter: @PaulMakesMovies
You can catch Favor on iTunes and DVD today. And now, Paul answers three questions I had about the release of his movie and how his “day job” helps and hinders his filmmaking.