Chapter 16
Recap

I hope the contents of this book have been informative. My purpose in writing it was to demystify the entertainment business and how things work in the real world, behind the scenes. I have attempted to dispel the myths about filmmaking and to empower the aspiring filmmaker with the knowledge of how to make the right film for the current marketplace for the right price and how to make no mistakes.

Anytime someone asks me what I do and I say that I produce films, almost invariably the person’s response is: “I bet that’s weird and you have to deal with a lot of wacky people.” Then they scoff at what fool’s gold they perceive the business to be. But when I explain how the business really works—creating a product on a margin—whether they are in real estate, the gas and oil industry, or any sort of manufacturing business, most people say, “That’s exactly what I do! You just use different terminology.” They recognize the same due diligence and universal deal structures. Film is a product, and American films are exported all over the world. Film can be art, it can be entertaining, it can be socially enlightening or emotionally affecting, but it is always commerce.

In my experience, it is equally difficult to try to explain how the business really works to people who actually participate in it. The bottom line is that even if you, your friends, your family, or your colleagues think that something is a great idea, there is no point pursuing it if no one else wants to buy it, exhibit it, or see it. Likewise, if you euphemistically “overpay for the neighborhood” and overspend on a film that has a low market value, you will lose money.

Listen to the experts. Listen to the market. Listen to the buyers. Listen to the exhibitors. Filmmaking is no different from any other business in which you listen to knowledgeable people to gauge the current state of the market.

The entertainment business needs a constant influx of new, fresh talent and ideas, particularly in the independent film world. Be flexible and creative when collaborating and fashioning the germ of an idea into something that is at least commercially viable enough to recoup your financiers’ investment. Filmmaking is a privilege, and if you are lucky enough to make it your profession, protect your downside so it continues to be in the future.