HOW TO GET A PRODUCER TO READ YOUR MOVIE SCRIPT (In the Entertainment industry.)

The-Ultimate Pre Production Checklist Photo Credit Studio Binder

HOW TO GET A PRODUCER TO READ YOUR MOVIE SCRIPT (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

How to Get a Producer to Read Your Movie Script

FIRST ARTICLE BY KEN DAVENPORT – THE PRODUCERS PERSPECTIVE

SECOND ARTICLE BY PERSEPHONE VANDEGRIFT

BY KEN DAVENPORT

How To Get A Producer To Read Your Script. (Updated 2018).

As someone who gets a minimum of 10 script submissions a week, I can tell you first hand that I know how hard it is to get a Producer to read your script and give it even 1/10th of the time and energy that you gave when you wrote it.

So what can you do to get that Producer to take that first step to producing your show and actually sit down and read your script?

Here are five tips on how to get a Producer to read your script:

1.  THE ASSISTANT APPROACH

Surprise, surprise, most people who work in Producers’ offices love plays and musicals, and have similar tastes to their boss, or at least know what the boss likes or doesn’t like (no one in my office is bringing me absurdist operas about Dadaism and its effect on South African monkeys).

Odds are that these people don’t get a minimum of 10 scripts a week sent to them like the guy or gal with their name on the door.  So find a way to get your script to them (which will probably make them feel pretty special and they’ll be even more inclined to like it).  If they do read it, and if they do like it, they’ll have 40+ hours a week to push it to the Producer.  If the Producer has already hired that person, then they already trust them, so odds are high that he or she will read it.  I know I’d read anything that my staff asked me to.

2.  THE TREATMENT APPROACH

Time is moolah, so sitting down (or standing up) and reading a script is a major investment for someone with a busy schedule.  I once did NOT read a play simply because it was 187 pages.  It could have been the next August: Osage County, but the thought of flipping 187 pages when I looked at my schedule made me throw up in my mouth (BTW, I did give it to an associate to read, and it was NOT August: Osage County).  The last thing you want is the taste of vomit in a Producer’s mouth before they’ve even glanced at your script.

Why not send a paragraph or one page treatment to whet the appetite of the Producer.  Or just send one of the best scenes (Producers tend to make up their minds quickly about plays and if your first few pages don’t grab the reader . . . don’t start by sending the whole play which starts with the first few pages!!!)

Along with the treatment, include a postage-paid postcard with a box to check to request the full play, or ask him or her to reply to an email if he or she wants to read the full play.  Not every show is for every Producer, and that doesn’t mean it’s a bad script.  God knows, the Dadaism opera could be the next Jersey Boys, but

I still wouldn’t want to produce it.  Why waste the Producer’s time and the Earth’s trees if the show isn’t a concept that appeals to the Producer?

Anyone can read a page.  Bait the Producer.  Get him or her to ask YOU for something.  Make them beg for it.  It’ll put a little psychological power back in your court.

3.  THE PRODUCTION APPROACH

Produce the show.  Anywhere.  Anyhow.  Produced shows have more value.  I don’t care if it was up at a community theater, a black box on the lower-east side, or in your college dorm room.  Get it up, and tell me that it was up, and show me some good reviews.  A few random quotes from a Philadelphia paper is what got me interested in the book writer of Altar Boyz‘s work.  Without those quotes, he and I never would have met, and the show wouldn’t be the same.

It doesn’t even matter what the production values were like or if you only sold 2 tickets.  Just give me the highlights . . . like a (here we go) baseball game on the 11 PM news.  Show me the game happened.  Show me that you won.  And show me a couple of great ‘plays’.  But I don’t need to know everything.

4.  THE PAY THE PRODUCER TO READ IT APPROACH.

Just kidding.  😉

5.  THE CONTEST APPROACH.

Can’t get a show up?  Win a contest.  There are zillions of playwriting contests out there.  Enter a few.  Win a lot.  Slap that seal of approval all over your cover page that you send with your one-pager.  Awards are cool and even if it’s from an organization I’ve never heard of, it still makes Producers sit up and take notice.  (By the way, contest deadlines are also great ways to motivate yourself to finish something if you’re having trouble setting a deadline for yourself)

There are many other ways to get Producers to read your script.  Just put yourself in their shoes.  Imagine that they don’t know you or what it took to write your baby.  What would make you read it?

Oh, and what do you do if you try all this, and do your follow up, and they still say they don’t want to read your script?

Move on.  #$*& (’em.  You can thank them for passing on it when you win your Tony Award, because there was obviously someone better suited to produce it.

You just have to get that person to read it.

(Oh, and before you try to get a Producer to read your script, make sure that script is ready for reading!  You only get one chance to make that first impression, so make sure your script is tuned up and the best it can be before submitting.  I suggest you do readings, have friends read it, and I also strongly suggest getting your hands on my “How to Self-Diagnose Your Script Execution Plan!” Click here to snag your copy now!  All this will prevent your script from just getting tossed on the stack.)

BY PERSEPHONE VANDEGRIFT

First of all, do not fall into the trap of just sending your script out to any and every producer. Anyone can say they are a producer, you should always do your research on him/her first!

The only way I have found to get a producer to read your script is to call the production company and ask if they are looking for new scripts. If you have already have had a film produced, be it short or full length, then you will know what a producer will expect. A producer already has a hundred things on his/her plate, so make sure that your script is the best it can be before you slide it into that envelope.

Another avenue to explore is to have a literary agent. There are many producers who will not look at a script unless it has the backing of an agent. This does not mean you should go a make up your own pretend agent. That would be one way of getting yourself ostracized! A good agent can get your script out of the slush pile and right onto the producer's desk.

Attending film festivals is also a way to hook up with producers. If you see a film you like and the producer is there, be respectful and approach him/her with caution. Always have your business card handy and, if you get a chance to pitch your script, make sure it is a well-rehearsed pitch. Even the smaller film festivals are worth attending as you never know when you will run into a small-time producer poised to hit the big time. If the producer likes your pitch and wants you to send the script in, make sure you state in your cover letter where you met and when. This will help jog their memory. It is very rare to go straight to the top producer unless you know someone who knows someone. Or if you have a well-known actor for a best mate.

It can take up to four-six months for you to hear back from a producer. Be patient. It is difficult to wait for a response, but during this time you should be working on your next script. If another producer wants to read your script at the same time, you should inform him/her that 'so and so' is also having a read of it. Perhaps drop a line to that original producer letting them know that a copy of your script has also been requested by another producer. Some say you should not submit your script to various companies at the same time, which is difficult because that would cut down your chances to be produced.

Before submitting to another producer I have always called my 'first' one to ask if this is permissible. If they say no, then that is fine, but it is the communication that matters. No producer wants to be kept in the dark. Sometimes the two producers might even know each other and strike up a conversation about this 'great' script they received and then come to find out it is the exact same script!

Make sure that your script is properly formatted, no frilly ribbons, or colored paper. It is exciting to finish a script and in your giddiness you want to send it out as soon as possible. But do not forget that the film industry is a serious business. You as a writer are your own business and therefore you must always double and triple check your work before you send it out. The producer is all about making money and that means you have got to be serious about your ideas and show your commitment to your cause. Of course, it is an imaginative business too.

We have all witnessed the effects of a well written story; however, learn to contain your excitement when speaking to a producer. I do not mean be morose or so aloof that folks will turn their back on you. But if you are fawning over and spitting on him/her because you just can not contain yourself during this golden opportunity, then you will end up being dismissed. Producers can do this in the blink of an eye because they have had to learn how to read people, and how to know when someone is talking out of their backside.

Some things to remember when face to face with a producer:

Know your story better than you know yourself.

Smile. Comment on the film or films they have just made that you liked.

Ask if he/she is looking for new scripts. Stay calm if they are.

Pitch your script concisely and eloquently.

Have your business card ready.

Make sure your script is the best it can be.

Be passionate and committed to your talent and what you have to offer.

And keep going. Do not give up after the first rejection, you will get better as you go along. You will also learn a lot more about the business with each new encounter.

Best of luck!

About Persephone Vandegrift

Persephone Vandegrift is an award-winning screenwriter, playwright, producer, and fiction writer. She is the co-writer and producer of MYTHFEST – A one-act play dedicated to women in classical mythology now on the Fringe festival circuit. She is the writer of the multi award-winning screenplay, Death Of A Mortal Woman, and WW2 TV pilot, Esther’s Den.

You can watch All Things Hidden online at: www.allthingshidden.com and check out its Independent Music Award-Winning soundtrack here.

Persephone can be contacted on Twitter: @Persephwrites

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support, Screen Craft, Movie Outline, Persephone Vandegrift, Ken Davenport – The Producers Perspective,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

The-Ultimate Pre Production Checklist Photo Credit Studio Binder

WHAT DOES SCRIPT READER DO? (In the Entertainment industry.)

Script Reader / Photo Credit: Industrial Scripts

WHAT DOES SCRIPT READER DO? (In the Entertainment industry.)

 

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does Script Reader Do?

By Ken Miyamoto

Reading and critiquing screenplays for a living sounds like a dream job to most screenwriters — but you’d be surprised about the realities behind taking on such a position.

Why You Want to Be a Script Reader

The fantasy is pretty simple — you imagine getting paid good money to sit at home reading movie scripts and telling your bosses how terrible or awesome they are. And then you imagine that your insights draw the attention of those producers, development executives, or agents — enough for them to either hire you to write the script, hire you to become a development executive, or give you the keys to the machine to work as a producer.

All of that is fantasy for the most part.

While being a script reader is an amazing stepping stone for any screenwriter, producer, or development executive, it’s not as simple and straightforward as it seems. We’ll get to that later.

Why you should really want to become a screenwriter is simple — it’s the best screenwriting education you will ever receive. Remember that when we talk about how much — or how little — you may get paid.

The educational aspect is the true treasure. You can quickly become a master of screenwriting structure, format, dialogue, prose, and theory — all from learning from the mistakes and the triumphs of others.

You also learn the ins and outs of the film and television industry expectations, which is key in advancing your own screenwriting career.

So forget about fantasies that have you rising up the ladder after your bosses see how brilliant you truly are. It’s just coverage, baby. And while many of Hollywood’s elite started off as readers, that doesn’t mean that the reason you want to be a script reader should be to follow in their footsteps.

You want to read to learn. Anything else that comes from it is icing on the cake.

Why You Don’t Want to Be a Script Reader

Once you’ve attained such a position, you’ll go through the one-week honeymoon phase where everything is fine and dandy. You’re reading scripts given to you by Hollywood insiders — and you’re (hopefully) getting paid for it.

The honeymoon doesn’t last.

It slowly becomes a grind as the scripts-to-read pile begins to grow. And the grind becomes a sad realization that most of the scripts you’re reading aren’t exciting, entertaining, and amazing. In fact, most of them just outright suck. Yet you are forced to read them because that is your job.

And before you say, “Well, you can usually tell the bad ones within the first ten pages,” you need to understand that this truth doesn’t matter. You’re being paid to read. And that means you have to read the whole thing. You aren’t afforded the power of tossing scripts aside after a few pages. Why? Because you have to write coverage. Let’s come back to that one.

Regardless, the allure of being a script reader gets old pretty quick. In fact, most burn out within the first few months. If you’re just in it for the money, or lack thereof, you’re not going to last long. If you’re there to learn, grow as a writer, or parlay that position into one higher on the Hollywood totem pole, that want or need can drive you through the monotony of script reading.

But make no mistake, no matter what level in Hollywood you attain, reading scripts is usually the worst part of the job. Until you find that one gem, that one Recommend. You can go for months or years without finding one, but if you do, it’s a damn good reset to keep you going.

What Script Readers Really Do

Script readers are tasked with writing script coverage.

Script coverage is the analysis of a screenplay, encompassing various grading of a screenplay’s many elements and accompanied by detailed analytical notes that touch on what works and what doesn’t work within the script — everything from concept, story, characters, dialogue, pacing, and structure to marketability, cast ability, and overall worthiness of acquisition by whatever company the script reader is working for.

The general structure of coverage varies per company, but you can usually count on including a logline, synopsis, character breakdowns, and anywhere from a single page or more of notes.

At the end, based off of the grading and notes, the script is given a final Pass, Consider, or Recommend rating.

Pass means the script isn’t ready, is outright terrible, or just not for the company.

Consider means the script has elements that showcase promise (concept, writing style, characters), but likely needs some major work.

Recommend means the script is worth investing in, whether it be through an option, development deal, or outright purchase. In short, if you the script reader gives anything a Recommend, you’re telling your boss that they should spend millions of dollars on the project right now before someone else picks it up.

Generally speaking, 95% of the scripts you read will be easy passes, 4% will be above average at best, and maybe 1% will be actual great reads that showcase huge potential.

While it’s great discovering that 1% (or less, to be honest), it’s the 95% of crap that really burns script readers out.

But the coverage doesn’t stop there. It’s not just about the script. Many times, the scripts are being used not for potential acquisition, but as samples to see if there are amazing writers that the company would like to hire to develop and write their own material — whether it’s a rewrite of an acquired script or an assignment to take an original (or franchise) concept the company is developing and turn it into a screenplay.

As a script reader, that’s all you do. You read scripts and you write coverage.

You don’t know who the coverage goes to. You don’t know how far up the coverage goes. You don’t have any say beyond the coverage you’ve written. And you certainly can’t take credit for any major discoveries because most scripts have been vetted by multiple readers.

That’s pretty much what a script reader does.

What Script Readers Get Paid

This is where it gets interesting — and utterly depressing for some.

Most script readers start as interns. And as you may or may not know, interns don’t get paid. Some do, but most don’t. More on interns later.

So, yes, if you’re first starting out, you may not even be making any money. If you’re an assistant at a studio, agency, or Production Company, script reading may be rolled into your hourly or salary pay for that position. So not only do you have to answer phone calls, sit at the front desk to welcome visitors, grab lunch, grab coffee, and a dozen other duties, you also have to read scripts and write coverage.

If you’re a freelancer, you can maybe make $40 - $60 per script. Most freelancers, when not working for free to prove their worth, may start as low as $25 per script. As your reputation (hopefully) grows, your fees can grow as well.

Ken’s Note: I have been paid from $25 to $400 per script from a major studio and additional major production companies.

But on average, expect between $40 - $60.

However, if you’re a union story analyst, you’ll be making the union minimums — $43 per hour (average of a few hours to read a script and writer coverage) and/or $1750 weekly if you’re an in-house story analyst.

So joining this script reader’s union, which is an off-shoot of the Editor’s Guild, can be more lucrative if you’re not one of the poor souls that have burnt out. However, it takes some time and money to join the union. You need to work a confirmed thirty days within a guild signatory company and then pay $1900 in initiation and processing fees.

So enough about the details…

How to Become a Hollywood Script Reader

These positions aren’t handed out that easily. It’s a great responsibility, thus the positions are kept close to the hip by the powers that be.

Internships

It sucks to work for free, but that’s what you often have to do when starting out. It’s the classic Catch 22 from Hollywood — in order to be considered for prime jobs, you have to showcase that you have experience in those prime jobs. The ultimate conundrum.

Internships afford you the ability to get your feet wet. Yes, you have to be enrolled in a university for most internships. However, there are companies that will take on others willing to prove their worth for no monetary return.

The job will also entail answering phones and being a “gopher” (ready to “go for” anything, including coffee, lunch, dinner, packages, etc.).

Assistant Jobs

Assistants are glorified interns, except you get paid a salary — not a great one, but a salary nonetheless. You’ll answer more phones, “go for” more things, and have more responsibilities, including reading scripts and writing coverage.

Generally speaking, that’s how you attain most script reader jobs — through internships or assistant positions.

Networking

Hollywood, as you know, is all about networking. You have to network to get internships. You have to network to get assistant jobs. However, you can also network to get freelance script reading jobs as well.

Explore all connections you have to the film and television industry, no matter how many times removed and let those people know that you’re available to write coverage for them.

Read Screen Craft’s Maps Screenwriters Can Use to Build Their Industry Network!

Writing Coverage Samples

You will often be given test scripts to write coverage for. If not, they’ll be asking for coverage samples. If you haven’t worked a coverage job before, you can simply be honest about that and ask if you can write test coverage from any script they have. If they like what they see, they’ll hire you on a freelance basis.

If the freelance work goes well, they may hire you on as an in-house script reader/story analyst. If they are an Editor’s Guild signatory, you just need thirty days of work to be eligible for the union.

Reading for Contests and Competitions

When you’ve established yourself as a Hollywood script reader, you can make additional money reading for screenwriting contests, competitions, and fellowships. Most of the legitimate ones (like our very own) only utilize readers that have worked at major studios, production companies, and agencies.

For any given contest, depending on the load of scripts that you are able and willing to take on, you could make upwards of $2000 or more for a single annual contest run.

Another option? If you write coverage for consulting websites, you could make a consistent honest wage — depending upon the number of scripts that become available for coverage.

What It Takes to Be a Great Script Reader

Being a Hollywood script reader is more than just reading scripts. It takes the ability to objectively analyze each and every screenplay that is assigned to you. You have to be able to communicate not only what is wrong with each script, but what works as well. You need to have the ability to truly break down each script within the context of the multiple elements we’ve mentioned above, including the needs and wants of whatever company you are reading for.

It’s no easy task. It’s no easy paycheck. But the education you receive will be better than any film school program, any screenwriting book, any lecture, any seminar, and any article you read.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support, Ken Miyamoto, Screen Craft,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Script Reader / Photo Credit: Industrial Scripts

WHAT IS A SCRIPT BREAKDOWN? (In the Entertainment industry.)

Shooting Schedule / Photo Credit: Bruce Bisbey

WHAT IS A SCRIPT BREAKDOWN? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What is a script breakdown?

Among the many tedious elements of film production, breaking down a script can be the most time-consuming and least exciting, but it's arguably the most important.

I use Entertainment Partners Movie Magic Budgeting and Scheduling. As well as Final Draft. There are other excellent programs out there such as Studio Binder. But my experience has been as an accountant, art department coordinator and producer has been with Movie Magic Budgeting and Scheduling, in conjunction with Final Draft.

When you first start, the programs and breaking down a script it can seem daunting, and it is. But with use and experience, like any computer program it becomes second nature.

A script breakdown, or a list of identified production elements within a scene, requires a meticulous eye for detail. You'll need to read and reread your 90-some pages until your eyes bleed, looking for keywords that indicate a tangible element that will appear onscreen (such as props, set dressing, and cast members). Identifying these elements will prove invaluable to every single production department; it will impact the specifics of their work down to the minutest detail.

A script breakdown is an intermediate step in the production of a play, film, comic book, or any other work that is originally planned using a script.

In film and television, a script breakdown is an analysis of a screenplay in which all of the production elements are reduced into lists. Within these lists, are in essence the foundation of creating a production board, which is fundamental in creating a production schedule and production budget of an entire production of any film or television program in pre-production. This process is a very tedious and complex task, and is usually the responsibility of the Assistant Director or first or 1AD within the production staff of any given production company. However, many film directors, film producers and screenwriters have knowledge of breaking down a script.

FIRST READ THE SCRIPT AND READ IT AGAIN. Get a sense of the story, it helps project an image of locations and sets, wardrobe/costumes, target audience and flow of the story line.

In particular, literally breaking down the script is a very a thorough and detailed creative analysis of dramatic action in filmmaking, highlighting the reciprocal struggle, theme, and design elements of a screenplay. Which is to code the entire cast, extras, props, special effects, stunts, wranglers, picture cars, wardrobe, make-up and hair stylists, special equipment and or cameras, ADR, Foley, film scores and soundtracks etc., which are all broken-down with different colored marker highlights within a shooting script.

After which, these highlights are then organized and broken-down into strips to organize the production schedule within the actual physical production board. This process is more easily done nowadays utilizing a computer than done manually, with features inside Final Draft called tagger, or utilizing tagging mode inside Movie Magic Screenwriter, another effective computer program. This information can easily be imported over to Movie Magic Scheduling to create a digital production board, and then easily imported over to Movie Magic Budgeting to create the entire production budget. Most of the script and production computer software out there comes in both Microsoft and MacOS versions, and even though there is competing software on the market, these which are listed are considered to be an entertainment industry standard. This whole process of the script breakdown however is not to be confused with character breakdowns utilized with casting calls, this is an entire different process with similar names, however administered by two entirely separate departments.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Shooting Schedule / Photo Credit: Bruce Bisbey

Shooting Schedule Report / Photo Credit: Bruce Bisbey

Day out of Days Props / Photo Credit: Bruce Bisbey

EXECUTIVE PRODUCER AGREEMENT - CONTRACT BROKEN DOWN (In the Entertainment industry.)

Ex Producers Agreement / Photo Credit: Bruce Bisbey

EXECUTIVE PRODUCER AGREEMENT - CONTRACT BROKEN DOWN (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

EXECUTIVE PRODUCER AGREEMENT - CONTRACT BROKEN DOWN

This is just one example of many, but will allow you to see the verbiage and the various aspects of an agreement. This is one I have used and covers most but not all contractual agreements and aspects.

Cheers.

EXECUTIVE PRODUCER AGREEMENT

DATE: ………………………….

Producers Name

Street Address

City

Country / State / Zip Code

Re: EXECUTIVE PRODUCER ON FILM WORKING TITLE, “………………………………………”.

This agreement is made and entered into as of the date written above, by and between …………………………….. (for Production Company) and Producer Name (Executive Producer) concerning Executive Producer’s services in connection with the project presently known as “Title of Project” (the “Picture”). The parties hereto agree as follows:

1.  Employment.

Provided Executive Producer is available when and where reasonably required by Production Company, Production Company shall engage Executive Producer (capacity) for the Picture, and Executive Producer accepts such employment, upon the terms and conditions herein contained.

2.  Term.

Executive Producer’s services hereunder shall be nonexclusive during development and first priority during production, provided, however, that any services which Executive Producer may render for third parties or on Executive Producer’s own account during nonexclusive periods shall not materially interfere with the timely performance of Executive Producer’s services and obligations hereunder.

3.  Compensation.

As full and complete consideration for all of the undertakings and services of Executive Producer and all rights and materials herein purchased, granted and agreed to be granted and upon the condition Executive Producer shall fully and faithfully complete all services that may be required hereunder and provided that Executive Producer is not in breach or default hereof, Production Company agrees to pay to Executive Producer, and Executive Producer agrees to accept, the following:

3.1          A development fee of $............................. (“Development Fee”), payable promptly following execution hereof. Said Development Fee shall be fully applicable against the Production Fee as defined below.

3.2          Provided the Picture is produced, a fee of $............................. (“Production Fee”) (less the Development Fee), payable promptly in two stages;

3.2.1      Fifty percent (50%) one week prior to the start of principal photography

3.2.2      Fifty percent (50%) following the completion of principal photography of the Picture.

3.3          Production Company shall have the unlimited right to rerun the Picture on television, make foreign telecasts thereof and release the Picture theatrically and in any and all supplemental markets anywhere in the world and otherwise exploit the Picture in all media throughout the universe, and, in the event Production Company exercises any such rights, Executive Producer shall receive no additional compensation thereof, except as expressly set forth herein.

3.4          Nothing herein shall be deemed to obligate Production Company to use Executive Producer’s services, or the results of such services in the picture, to produce, release or distribute the Picture or to continue the release and distribution of the Picture if released or to otherwise exploit any rights granted to Production Company hereunder. Production Company shall have fully discharged Production Company’s obligations hereunder by payment to Executive Producer of the Compensation set forth herein.

4.  Credit.

In the event that the Picture is produced by Production Company and provided Executive Producer performs all of Executive Producer’s services hereunder and on the condition that Executive Producer is not in breach or default hereof and subject to customary of the studio, network and/or other similar parties, Production Company shall accord Executive Producer screen credit on positive prints and /or digital prints of the Picture in substantially the form “EXECUTIVE PRODUCER – Producers Name” (credit). All other matters relating to credit shall be determined by Production Company in its sole and exclusive discretion and subject to the standards and operating policies and practices as established and determined by the network, studio or similar party. No inadvertent or casual failure by Production Company or any failure by a third party to accord the credit provided herein shall be deemed a breach of this Agreement.

5.  Travel.

If Production Company requires Executive Producer to render services on the Picture more than one hundred and sixty kilometers away from Executive Producer’s principal residence (a “Distant Location”), Production Company shall furnish Executive Producer with round-trip transportation, air flights in business class or higher seats only, and, while Executive Producer is at such Distant Location at Production Company’s request, reasonable hotel, (4 to 5 Star), accommodation and ground transportation to be provided for the Production Company’s account.

6.  Miscellaneous

The balance of this agreement shall be Executive Producer’s Terms of Personal Services Engagement (TOPSE), a copy of which are attached, subject to those changes, if any, mutually agreed in writing by the parties. This agreement shall constitute a binding agreement between the parties, shall supersede any prior or contemporaneous agreements and may not be waived or amended, except by a written instrument signed by the parties hereto.

AGREED AND ACCEPTED:

_____________________________________________________________________________________

Name and Signature of Executive Producer:

_____________________________________________

Passport Number:

_____________________________________________

Date of Execution:

For Production Company:

_____________________________________________________________________________________

      Name and Signature of Production Company Representative:

     

      ____________________________________________

      Position of Signatory:

      ____________________________________________

1.  Witness

____________________________________________

2.  Witness

     

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Ex Producers Agreement / Photo Credit: Bruce Bisbey

WHAT DOES AN EXECUTIVE PRODUCER DO? (In the Entertainment industry.)

Ex Producers Agreement / Photo Credit: Sample Templates

WHAT DOES AN EXECUTIVE PRODUCER DO? (In the Entertainment industry.)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does An Executive Producer Do?

aka Executive in Charge of Production

The traditional role of the Executive Producer is to supervise the work of the Producer on behalf of the studio, the financiers or the distributors, and to ensure that the film is completed on time, and within budget, to agreed artistic and technical standards. The term often applies to a producer who has raised a significant proportion of a film's finance, or who has secured the underlying rights to the project. Typically, Executive Producers are not involved in the technical aspects of the filmmaking process, but have played a crucial financial or creative role in ensuring that the project goes into production.

Responsibilities

As there may be several Executive Producers on a film, it is difficult to define their exact responsibilities. However, they usually fall into one or more of the following categories:

• Development - the Executive Producer secures the rights to a story and develops the screenplay, but then hands over to the lead Producer, and has no direct involvement in the physical production of the film.

• Packaging - the Executive Producer authorizes and supervises the packaging of the film.

• Financing - the Executive Producer raises a significant proportion of funding for the film, assists with presales, or helps to secure distribution agreements. On smaller independent films, a well-known Producer, Director or star may also be accorded this title because their association with the project helps to facilitate contacts with financiers and Distributors.

• Production - the Executive Producer acts as a mentor to the Producer and supervises production for the financiers. This type of Executive Producer is almost always involved in short film production schemes, where they typically co-ordinate the film's production from initial financing through to final distribution.

Skills

Executive Producers must be consummate negotiators. They need a keen business sense, and an intimate knowledge of all aspects of film production, financing and distribution. They are usually very well connected both within the industry and with investors and investment groups. They should have a strong sense of the market for films, and of the developing trends in production and audience tastes. When packaging a project, they must have a keen understanding of which packages will earn more than they cost.

Qualifications/Experience

Executive Producers may be well established Producers, who are able to strengthen a production package and attract money to the project. Alternatively, they may have a more specialized background, as a Distributor, Sales Agent or financier, and possess specific skills or contacts that make them critical to the success of the film.

Sources, References & Credits: Bruce Bisbey, Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Future Learn, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, How Stuff Works, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Bright Hub, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Liberty Me, Careers Hub, Sokanu, Raindance, Film Connection, Cast & Crew, Entertainment Partners, My Job Search, Prospects, David Mullich, Gear Shift, Video University, Oxford Dictionaries’, Boredom Therapy, The Bold Italic, Meets the Eye Studio, The Guardian, Elliot Grove, Jones on art, Creative Plant, Studio Binder, Film Tool Kit, Still Motion, Film Under Ground, Steves Digicams, Improve Photography, Guy Nockels, Namib Films, Film Support,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Ex Producers Agreement / Photo Credit: Sample Templates

THE GOOSE WINE TASTING IN HOUTBAY, SOUTH AFRICA

Retief Goosen Signature Wines tasting Houtbay / Photo Credits: Letha Malan Oelz

THE GOOSE WINE TASTING IN HOUTBAY, SOUTH AFRICA

  

Letha giving a wine tasting of the fantastic signature line of Retief Goosen’s international renowned fine wines in Houtbay.

Retief Goosen is a South African professional golfer. His main achievements were winning two U.S. Open titles and heading the European Tour Order of Merit for two years. He was in the top ten of the world rankings for over 250 weeks between 2001 and 2007. He currently stands on 24 international victories, 7 PGA TOUR victories and 3 additional victories. Retief, often called “The Goose”, is known as one of the coolest customers in the world of golf.  Fittingly, the wines that carry his name are also produced in one of the coolest regions in the Western Cape with the Indian Ocean lurking only 24 kilometers to the south of the vineyards.

The Goose Wines is based in the Upper-Langkloof appellation, which is found in the majestic Outeniqua Mountains on the world-famous Garden Route of South Africa. The Upper-Langkloof is arguably the coldest wine growing region in South Africa.

These extreme climatic conditions ensure complexity of fruit and unique grapes that are hand-crafted into world-class wines. After hand harvesting the grapes are transported to cool-rooms, where the temperature is maintained at 4 Degrees Celsius for 12 hours to keep the grapes cool. Upon arrival at the cellar the cold grapes are sorted before being crushed and pumped into open cement troughs. There the juice is allowed to ferment on the skins for 8 to 14 days, extracting the vital character and colour from the grapes into the wines as it develops. Malolactic Fermentation is completed in imported French Oak Barrels. ​

The Goose is styled into classic and elegantly structured wines by ageing it in these barrels for a further 18 to 24 months for the reds, while the cool-climate Sauvignon Blanc is kept on the lees for a number of months in stainless steel tanks. The maiden vintage of The Goose Expression was a 2005 blend of equal parts Cabernet Sauvignon and Shiraz. In 2008 the first single-vineyard The Goose Sauvignon Blanc was released captivating wine lovers imaginations immediately.​

The wines in The Goose portfolio have an elegance about it which is a direct result from the unique, colder Upper-Langkloof climate, with a high natural acidity, which ensures great longevity. The end result is wines with which displays the ultimate combination between Old World elegance and structure and New World fruit and body.​

It is not only said of wine, but proven over centuries, that it is indeed “the vineyard that makes the wine.” If, The Goose Wines were to be the home of world-class Cabernet Sauvignon, Shiraz and Sauvignon Blanc then it would be fundamentally up to the soil and climate to ensure that the grapes deliver their optimal blueprint in terms of excellence of flavor.​

After years of research, we had inkling that the conditions at The Goose Wines were ideal for cool-climate varietals of distinction. ​

www.retiefgoosen.com/  …

https://www.thegoosewines.com/ …

https://www.thegoosewines.com/about/ …

Have a fantastic year.

Letha

Letha (Malan) Oelz (You can contact Letha at: oelzletha@gmail.com... please follow me at https://www.finderzkeeperz.co.za/2019/03/04/the-goose-wine-tasting-in-houtbay-south-africa/

Retief Goosen Signature Wines tasting Houtbay / Photo Credits: Letha Malan Oelz

Google Earth The Goose Vineyard / Photo Credit: Google - The Goose Vineyards

TIERHOEK WINE TASTING AT THE ARAMBROOK BOUTIQUE HOTEL

Arambrook Boutique Hotel / Photo Credit: Arambrook Boutique Hotel

TIERHOEK WINE TASTING AT THE ARAMBROOK BOUTIQUE HOTEL
  

Letha giving a wine tasting of the fantastic line of Tierhoek wines at the Arambrook Boutique Hotel.

Offering superior, luxury accommodation in Cape Town for the discerning traveler.

Arambook Boutique Hotel is focused on personalized service in a relaxed, discrete setting. Nothing is too much trouble here, and every whim is catered for.

The hotel lies along the Liesbeek River, just a short distance from some of the most prestigious and oldest Constantia region’s wine farms, and offers guests a peaceful break from a busy, modern life.

The hotel’s dedicated staff will take care of all details, from gourmet dining options in extraordinary settings to intricate travel plans and requests to honor any special occasion.

Arambrook Boutique Hotel

15 Kirstenbosch Dr, Bishopscourt, Cape Town, 7708, South Africa

Phone: +27 83 268 1479

https://arambrook.co.za

https://www.facebook.com/arambrook/

Have a fantastic year.

Letha

Letha (Malan) Oelz (You can contact Letha at: oelzletha@gmail.com... please follow me at http://www.finderzkeeperz.co.za/tierhoek/

Arambrook Boutique Hotel Wine Tasting / Photo Credits: Letha Malan Oelz

Arambrook Boutique Hotel / Photo Credit: Arambrook Boutique Hotel

Arambrook Boutique Hotel / Photo Credit: Best Directory