Film Strategy

THE FILM STRATEGY 5 with Cindy Cowan Sad to say, but even in 2016, there are simply not enough women in Hollywood running things behind the scenes. While women do represent significantly on the silver screen [1] , they are underrepresented as decision-makers behind the silver screen.   Studies abound that demonstrate the dearth of women as directors, producers and executives in film and television. As one who craves perspectives beyond the ones we have been fed for years, I hope that these revelations will eventually make a difference. Until then, we should applaud the trailblazing women who have been able to make their mark, despite the odds against them. Cindy Cowan is one of these trailblazing women. A woman who began her career producing and writing for a CBS News affiliate in Miami, Florida, she then co-founded Initial Entertainment Group (IEG) in the 90s during the heyday of the indie film era. Under her leadership, IEG projects were nominated for two Emmys, Golden

This Film Collaborative article offers a great look into the thought process that goes into deciding whether to screen your film at a particular film festival or not. Oftentimes, filmmakers make it to the film festival stage with no clear strategy or long-term vision. This article sheds some light on what filmmakers should do in that situation. -------*------- originally published by The Film Collaborative blog on 10.27.16 I love film festivals by-in-large and they have done great things for many of our films. In fact, we have multiple films this year that have generated over $50K in revenue on the festival circuit. Many companies cling to the myth that playing festivals hurts distribution deals and revenue, yet most of our top festival performers still received six figure distribution deals while continuing to generate revenue, awards and exposure on the circuit. While The Film Collaborative is perhaps best known for monetizing the film festival universe, we provide just

Actor, Peter Coyote, has written a letter that I think should be spread far and wide. Read it in full here . My favorite part* is the recommendation he makes, which is this: There is a simple way leading actors might bring a second, more flexible and targeted weapon into the fray on behalf of your colleagues which incidentally, would provide the ancillary benefit of insuring that you consistently play opposite actors of the highest caliber. If you were to include language in your contracts specifying that, in your films, the “quotes” of your peers must be recognized as a negotiating floor for their compensation, if you publicized that fact, and, if you kicked back a modest amount, say on salaries over six million dollars a film to make that money available, each and every actor negotiating to play opposite you would be empowered to demand the fair compensation that he or she has won for their work. (my bold ) People in general, and specifically lawyers, are accustomed to doin

The 3-Act Structure rules Hollywood even though some think the 3-Act structure actually kills scripts . And as the cartoon demonstrates below in amusing and sarcastic fashion, the 3-Act structure is made up of elements that engage and entertain us while also being repetitive and derivative.  So here's a challenge to all filmmakers, from indie newbies to hollywood bigshots, do you dare tell stories outside of the 3-Act structure?  Ok, you say, I'm down but what else is there outside of the 3-Act structure? Well, my friend, that's where your creativity as a writer, director, producer and editor comes in. Plus the cojones to dare and even fail or get audience heads scratching. But if you want some suggestions for ideas well here are a few places to look: One way to start is by considering other options for narrative structures beyond just "linear narrative."  Another suggestion for inspiration is to look to the East for non-Western dramatic structure

Here's an excerpt of some advice I posted on Avvo , recently, in response to a filmmaker asking whether they should form a production company or continue working under their own name as a sole proprietor. It seems like a no-brainer and that the answer is yes but I would only say yes, it's worth the time and money if it meets your goals. Check it out: Basically, whether to form a business entity like an LLC, partnership or corporation or remain as a sole proprietor (which is what you are when you do business "just as yourself") comes down to what kind of goals your production is trying to meet.  You should form an LLC, partnership or corporation if your goals are any or all of the following:  1. raise funds from investors,  2. hire a team of independent contractors or employees,  3. work with business partners and co-producers, writers and directors,  4. avoid risky liabilities that can personally bankrupt you (especially if you are shooting a picture with actio

RIP to the legendary Iranian filmmaker, Abbas Kiarostami . I can only think of two ways to honor the man; by watching his films and studying his filmmaking philosophy and methods. Here are some of his movies that I recommend: Taste of Cherry , Close-up , and The Wind Will Carry Us . In the meantime, here's a quick glimpse into Kiarostami's filmmaking philosophy and methods courtesy of Martin Snyders' article, " Here’s What It’s Like to Make A Short Film with Abbas Kiarostami in 10 Days ": After graduating from Columbia University and toiling for years as a screenwriter, I finally made my feature film debut in 2013 with an independent, romantic comedy called "Missed Connections." The film won multiple audience awards at festivals, reached number one on iTunes’ independent sales charts and The Playlist  even suggested  me as a "filmmaker to keep an eye on." Things were looking up. I went to Hollywood, represented by a major talent a