Lessons from Hollywood: On Getting Projects Green-Lit & Spec Work
For over a year now I’ve been working with a well-known producer/writer/director as his Internet marketing manager on two movies; one in development and the other now in pre-production. It is an interesting experience that has taught me loads about what not to do as a freelancer as well as educated me about finances, the business of freelancing, and how Hollywood really works. It is exciting, exasperating, engaging, frustrating, upsetting, and rewarding. But I have no clue what my job actually encompasses.
I thought I would share the wisdom I’ve acquired along the way.
What’s In A Title?
So, I’m “Associate Producer” now of a movie in “development hell”. How did I earn this title? It is typically awarded to people who work on movies without a portfolio. I jumped into Hollywood blindly — well, sideways as things usually come to me. This movie is the personal project of the a Pulitzer-prize winning screenwriter and Producer/Director. He was trying to market the concept of a script on YouTube (“Confession of an Iraq War Vet“) by asking for comments on a small scene that the Director had shot.
It happened to star a wonderful actor who is relatively unknown named Ben Browder. As a fan of the actor, and as a web designer, I emailed the Producer/Writer and offered my services to further his push to raise money via grassroots marketing. He accepted and thus began my lessons on how Hollywood does and doesn’t work, or how to market an independent film.
Working “On Spec”
The man is a genius. This isn’t a plug for the movie, it is the truth. Geniuses have unique and compelling ideas but don’t know how to get them off the ground. Those ideas are magical and his is particularly poignant and unworkable—to support today’s soldiers and to express his own history with Post Traumatic Shock Disorder (PTSD) and the Vietnam War. I became his liaison into Internet-based fandom, but more than that, I built a website and social networking system to support his dream of making this movie without having to touch the Hollywood deal-making apparatus and its habit of using creative accounting that eats up profits leaving very little behind. I helped him build the infrastructure to support his plan of a non-profit veteran’s organization surrounding a movie. The website, which has been up and running for over a year, is providing a platform supporting education about our treatment of veterans with PTSD as well as promoting the movie about an Iraq vet with PTSD who tries to commit “suicide by police” and the Vietnam vet also with PTSD—a television documentarian—who further ruins and saves his life.
But, the Producer’s dream of having local veteran’s organizations and supporters of veterans raise the $5 million needed for the movie was an utter failure. The Producer wanted to use a relatively new and successful Internet fund-raising process called The Million Pixels Project. The Million Pixel Project is a successful way to raise money for non-profit organizations.
The limited liability partnership the Producer founded (it is typical for movie productions to form corporate entities for tax purposes), could not get its 501(c) non-profit designation because although the gross producer profits from the movie were to be totally donated to veteran’s organizations dealing with mental health, the SEC saw the organization as being For Profit. So, the idea of selling pixels at $10 each to raise money (you set out blocks of pixels and the money is raised through social networks whose members can take those blocks and sell them for the non-profit via their own Million Pixel sites), never got off the ground. I built the software to do it, I spread the word through the science fiction community (the lead actor featured in the video was the lead in two successful cult TV programs), but we never could reach the real community who was needed to raise the type of money needed to make a film; namely veteran’s organizations.
All through last year I got to edit screenplays, act as a sounding board for story ideas, set up Twitter and Facebook campaigns, build a very large portal website and run it, including research and write articles about PTSD, network with my fannish Internet community and bring in experts in graphic arts, programming, marketing, and so forth. I did these things without payment; on spec.
Was the Producer using me? Was I crazy to put so many hours into something that paid nothing? Was this exploitation by the Hollywood machine? Was it right to do this when running my business on such a thin margin? All these questions went through my head and certainly bothered my family and business associates. All I know today is that I believe in the Producer’s quixotic quest and I continue to work free now based on the promise of future payment when the movie gets made.
Lessons Learned
Here’s a lesson for freelancers: always understand the corporate or system structure when writing your contract so that you work with the person who is paying you. I wrote and the Producer/Writer approved my contract, but even though he is the Executive Producer and CEO of the movie LLC, he had no authority to issue payment.
Thus, although I had a contract and I had a project, I didn’t have a real client. There was no production company attached to the film, nor was there a distributor, thus no one who had money in the bank. In Hollywood and even with totally independent productions, the money does not become available until the movie or TV project is “green-lighted” which literally means that the lighting and cameras get turned on. The millions of dollars needed to make a film is raised in such a complex fashion (especially in indie productions) involving stocks, promissory notes, bonds, and rich donors; and the legal and financial laws are so strict about who can invest in a film (you have to have at least $1 million to invest), that until a production company announces the production date, no money is available for anything. This makes a standard contract where upon signing one gets paid a down payment with additional payments at milestones, moot.
Every participant in a movie works on spec with the hope that the film will be green-lit. The movie is currently stuck in pre-production — the planning phase when the Director and Line Producers and other crew (all members of various unions that have defined their payment schedules) do not get paid when they do the work, but only when the movie actually begins shooting.
So, if you want to work in Hollywood, prepare to do hours of design and writing work for free with the promise of payment IF the movie actually shoots. It sometimes takes years. I feel that this type of speculative work is worth the gamble.
Conclusion
I would and am doing it again in a heart beat. Why? Because I get to hear real stories of actors, producers, directors, and writers and befriend a mentor who has taught me about overcoming tough situations, never quitting when you have a goal, how to overcome doubts in yourself and others, and he continues to astound me with his cynical but wise take on real life. We have become deep friends.
But I also learned that the glimmering sheen of actors, lifestyles of the rich and famous, and what you read in fan magazines (I’m a big consumer of this junk — a secret vice) is just fantasy concocted by the Hollywood machine. In reality, actors, producers, writers, and the like are people like you and me. I’ve gotten to meet with some and work with famous screenwriters this year.
The lessons about how to work independently while maintaining a vision are priceless. I love this work also for allowing me to brush shoulders with idiots, zealots, geniuses, and utterly nice people, all working in Hollywood. The best part of the job is that I got to be a “jack of all trades” and managing editor of the project; something I truly enjoy for its creative freedom. The level of management was light, making my risk of failure high, but rising to the challenge of creating a viable marketing presence for an important cause brought direct benefits for the movie while allowing me to stretch my skills and abilities into realms I have wanted to pursue, such as Facebook advertising and page creation, Twitter page creation, research and writing, and deeper into Joomla! CMS development; while working very independently, pulling in specialists when needed under the trustful eye of the Producer.
I’ve just started a new project for the Producer for a film he is directing. Again, for the promise of payment when the film is green-lit. Again, I’m Associate Producer and I’m going to build an Internet presence for this movie produced by an independent studio.
Am I stupid or just a believer? I’ll have to see.
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Love the article! I’ve done that so many time and I’ll do it again
Excellent analogy Rita, thanks for sharing that with us!
For what it’s worth, I’d put you firmly in the believer camp.
That was a really interesting insight to hollywood. Sometimes the rewards aren’t money right?
Oh, just for you information it’s “Post Traumatic Stress Disorder.”
Since it was brought it up… It’s also called “Suicide by Cop” as opposed to ‘police’. Thanks for the insights!
The industry standard practice for designers is to decline work on speculation. If you take work on spec, expect no payment. Consider yourself a business partner seeing as you’re placing your most valuable resources–your talent and time–at risk. In a sense, it’s as if you were investing money into this project right out of your pocket in the form of your skills and devotion.
You may be telling yourself that it’s really for the vision and peripheral benefits and not for the money. If so, then just say you’ll do everything for free and if there’s a financial bonus at the end, then even better.
But there can be a perpetuation of the idea that a designer can be bought for a promise and that other more naive, desperate designers may become targets to be exploited by less scrupulous clients. That’s why the AIGA discourages speculative work and that the profession can only be legitimized if everyone adheres to that principal.
No one can tell you what to do, but you might as well consider yourself a volunteer. If you’re comfortable with that, then you should be able to accept the consequences of how you choose to invest your time and talent.
Interesting take on spec work, and a good read – thanks Rita!
I think i would be more inclined to take spec work if a) i felt strongly for the project, and b) i felt like i was getting something else out of the deal – contacts, learning experience, and so forth.
I wonder if you’d feel the same if you weren’t a consumer of the Hollywood junk? i don’t mean that in a negative way – just askin!
For more on how the design folks feel about spec work, see:
http://www.no-spec.com/
I know that spec work is greatly bashed by all freelancers, but with the economy not doing so well sometimes you are looking for whatever you possibly can.
I am creating a website now for a vineyard in my area and they have no idea. I am going to approach them with my idea and see if they want to buy my design and plan for them. The only problem that I have is how to approach the spec client without scaring them away or looking like a telemarketer.
I know that I very well may never see a dime for my effort, but at least it will make a great portfolio piece if I change the company name and logo.
Any ideas on how I can approach this spec client with my finished idea?
I’ve done plenty of work for non profits, often asking for no money in return and sometimes working completely. I completely agree here that it’s very difficult to justify financially, and running yourself and your business on a thin margin is tough. but usually this kind of work pays off significantly.
One other thing that I feel you didn’t emphasize is the type of networking and referral opportunities this kind of work can bring you and if you do it with and for the right people this may be the most valuable work you do.
that is hard for almost everybody..it is difficult at times, it is more important that you are happy and get to do what you are passionate about every day and get paid less for it than to dread getting up in the morning because you dislike what you do..often asking for no money in return and sometimes working completely. agree that it’s very difficult to justify financially, and running yourself and your business on a thin margin is tough. but usually this kind of work pays off significantly.
I think it goes beyond spec work when you ‘invest’ in a project and become a partner and potential recipient of its profits, but potentialy at a larger scale than just being a designer and so I think this is how the writer will benefit.
I have participated in projects where instead of being just a designer, I became a part-owner or director, increasing the reward share and thus its not spec work any more and not just in the hands of someone else.
Not every project that comes is like that, but it can be a good opportunity.
This is a great article! Thank you for sharing your experience with us, Rita!
I think that what you’re doing is great. All that matters is that you are comfortable with the situation, happy with what you’re doing, and comfortable with the risks involved. Like many others said, the networking opportunities presented with these jobs is probably worth the time & money you’ve invested. I wouldn’t make it a practice to be working on TOO many of these projects at once if you have bills to pay, but to devote some time every week to these types of projects I think is great, especially if you really enjoy the work!
Good luck with getting the projects green-lit, and please keep us updated!
Y’know, I must say – I’ve worked in “Hollywood” (though it makes me cringe to call it that, considering the cultural capital it carries) for more than a decade. In that time, I’ve worked for free a total of five days (and that was the first week).
No matter what the cause, if a project doesn’t see and acknowledge your value as a contributor, there’s very little chance that its value will in turn be acknowledged by those it aims to touch. I’ve taken low rates for worthy work, but – and I speak from years of experience in this particular business – “spec” is an alarm bell. Run screaming from the sound.
Also, I’m afraid I’ll have to call you on the “every participant in a movie works on spec with the hope that the film will be green-lit” statement. Ain’t so. Sorry about that.
You’re obviously a kindhearted, generous person, and I sincerely wish you the very best of luck. Just take care of yourself, OK?
I guess I’d have to say I agree more with Annette. In most cases film productions have two budgets – Above the Line and Below the Line.
In the movie industry, above-the-line expenditures are those that are negotiated or spent before filming begins. These costs can include rights for the material on which the screenplay is based; and the salaries for the screenwriter, producer, actors, director, and assistants to directors (typically all employees working under individual contracts). Whereas the below-the-line cost are associated with the actual production and is usually a fixed and determined amount.
Now on, say a really-low budget film, there may be no money available to pay anyone in the pre-production phase. (There’s always no money!)
So yeah, a lot of people that REALLY believe in the project will invest their time and energy to get the film financed or made. It’s not quite considered ‘spec-work’ though, more like labor of love for the project. Contract or no, you’re probably not going to get paid for this.
Production companies always want websites to market and promote their films to raise financing, but typically should pay for these services as part of making their film. They mostly try to get a ‘fan’ to do it for free.
It’s fine to help out on a project that you believe in and want to be involved in by contributing your talents. Just realize that A LOT of film don’t get made. The fact that now you’re working on another project for this company should raise your eyebrows. Good luck.
This is a great article! Thank you for sharing your experience with us.
I think that what you’re doing is great. All that matters is that you are comfortable with the situation, happy with what you’re doing, and comfortable with the risks involved. Like many others said, the networking opportunities presented with these jobs is probably worth the time & money you’ve invested.
I’m just glad to hear Ben Browder is still getting work.
I would call this article very interesting. I would not say that it is educational. I believe that the situation is different for each and all film projects with the possible exception being those in a position to “cookie cutter” out films like an assembly line. My take is based on my own admittedly microcosmic experience as a union actor that also produces, directs, writes, coaches etc and is based in Boston, not L.A. or NY. but I have done over 60 films and 24 plays and have been on both sides of projects. I think it is admirable to have that kind of courage of conviction and dedication to the project and I believe the project is an honorable one that should be made. Although I try to work literally anywhere the work is, I have not had a “survival job” for many years and that precludes me from doing uncompensated work that my memberships in SAG and AFTRA would allow me to do otherwise. The bottom line is I believe people should read this article and then just say something like “ok, that is ONE way to do things” and then go on to find out other ways too, while being alert to the possibility that they could be victimized by someone unscrupulous.
Thank you for all of your cogent feedback. I probably used the wrong word when I said I was working on spec as it could more be called a labor of love with a written Greement that upon deposit of funds my services would be paid.
Yes, I fully realize that the vet film might never be made. I choose to offer my services. The second project is fully contractuL.
I’m probably naive, but I’ve no heard of the “no spec” movement. I do agree with it’s principles. I also understand what Annette is saying a out above theine vs. below the line finance items. This was a tough call for me and such work on a promise shouldn’t be done often or one will go out of business. It is a huge learning process for me.
Thank you for all your words of wisdom.
Hi I found your story like many other in Hollywood , There are Player and people that talk the talk I’m a director writer. And say its tough. already done two film still to get your self notice’s you have to go large. So if there anyone out there that need a director/writer. just email me have over ten great scripts. I am not gong to To get the one day O yes I have a agent.
I think it would be a nice HDR. Maybe you could try a tonemapping version in photoshop. Just a thought. Good picture.