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Guest Post: “From Behind the Table: General Auditions Part 3B - Monologue Choices and Presentation Continued”

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“Even though it may be a general audition the theatre will probably be looking to cast the season they’ve announced. If there’s something the actor thinks they’re appropriate for they should attempt to do everything possible to win the role by tailoring the choice of monologue to the role they think they’re right for.”
George Pothitos, Neptune Theatre

Modern and Canadian Content:

“I love it when I get wind of a Canadian monologue from a show that I haven’t yet seen.” Del Surjik, Artistic Director, Persephone Theatre.

Many companies will ask for a Canadian monologue, so it’s good to have one in the bag. Doing a Canadian monologue also shows an interest in the work that most Canadian companies are doing and therefore an interest in them and support of both the Canadian and local theatre scene.

Canadian monologues are not the easiest to find, especially if you are looking for new plays. Places to look are local reference libraries, Solo Collective Archives, organizations like Playwrights Theatre Centre, Playwrights Montreal, Manitoba Theatre Centre, Alberta Theatre Projects, Playwrights Guild of Canada and of course Biz Books.

Check out the web pages of theatres doing new work and go discover the playwrights. There are a few good monologue books out there like She Speaks by Judith Thompson, and He Speaks by David Ferry. Also the Summerworks Festival is now publishing their productions.

Shakespeare and Classical:

“Be ready at anytime to do a Shakespeare piece…Change pieces regularly – learn new ones for the pleasure of it.”
Christopher Gaze, Bard on the Beach

You will need one speech in verse and one in prose. You also want to skip the “Purple speeches”(DPG). The Hamlets, Richard the Third and Lady Ann, Henry the Fifths, Rosalind, Macbeth and Lady Macbeth, Romeo and Juliets, etc. Basically, if it’s famous – avoid it. Firstly you can’t measure up to the Artistic Director’s version in their head and, like above, everybody is doing them. Give yourself the opportunity to stand out – read the lesser done plays and other playwrights of the time period such as Christopher Marlowe, Thomas Middleton, John Ford and Lope De Vega (I just finished Joost Van Den Vondel’s Lucifer and Life is a Dream by Calderon de la Barca – both chock full of great monologues). There are some great speeches out there.

This does make life a little difficult for women. Unfortunately when you remove the famous women from Shakespeare you are left with very little unless, of course, you go outside the box. Spanish and French playwrights are a good source (as they actually wrote for female actors) such as Moliere, De Vega, etc. Greek and Roman texts will also do the job – they’ve got some great verse and the ancients also told a mean fart joke. There is also the opportunity to do a male speech that you have always wanted to try (see quote below).

“…it is refreshing to see actresses and actors choosing speeches from the less popular plays. I am always impressed that they have been inspired by or taken the time to sit down and read the lesser known plays and prepare a speech I don’t see often. It shows me that they have a sense of curiosity and risk taking. I also don’t mind if actresses choose to do a monologue written for a male, providing they have the passion for it. For me the key to a successful monologue is to have read the entire play, and to know what motivates the character, be it male or female. To know what the events are that lead up to the moment that they are compelled to speak the thoughts they are about to utter.”
Marianne Copithorne, Artistic Director, Freewill Shakespeare Festival

For the Modern Classical (Shaw, Tennessee Williams, etc) the same rules apply. Try looking outside of England and America (F. Garcia Lorca, Jean Anouilh, Nikolai Gogol, etc). If the company is doing an Irish play find an Irish monologue. Allow yourself to come in with something different that they may not have heard before.

Additional:

For the final entry of this blog series, I will be directly addressing questions from you, the readers. Ask your questions on the comment section below and I will endeavor to find answers for them.


In Bocca al Luppo
John Jack Paterson

Posted on July 16, 2010.
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Guest Post: “From Behind the Table: General Auditions Part 3A - Monologue Choices and Presentation”

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“Choose a piece that you love…Choose a piece that you relate to…Choose a piece that perhaps espouses things in which you believe…It is also smart to choose a piece spoken by a character that you could conceivably play” Michael Shamata, Artistic Director, The Belfry Theatre (Victoria)

Contrasting Monologues:

Most general auditions will ask for 2 contrasting monologues. I’m struck every time with the question “What does that mean?” even when it’s me putting it on the call notice.

What we are looking for is two different performance qualities. In classical theatre it’s easier – Comedy vs. Tragedy, Prose vs. Verse. In modern theatre where the lines between the two blur, think along the lines of Character Role vs. Straight Role, Dramatic vs. Comic, Naturalism vs. Stylized, Still vs. Movement (can you walk and talk at the same time). Are they thematically different? Do they help demonstrate your range?

It’s always good to get a second opinion on whether the monologues actually showcase different skill sets or sides of yourself.

From the Season or Not from the Season:

I suggest choosing monologues where a character is similar to a character in the season rather than the character itself. Most AD’s and directors will have a strong idea of their lead characters in their head that you can’t possibly live up to. The best bet is to showcase those qualities in yourself and plant the idea rather than trying to fit into a box you can’t see. Also, everybody else will be doing them. You may pull off the audition fantastically but after the 10th time the monologue has been heard the Auditoners will be tuning out. When the auditions are called for the show itself they may then ask you to read for the character.

From the Internet and Film:

In general internet and film monologues don’t fly in theatre auditions. Most AD’s have an aversion to them so best leave them alone.

Theatre for Youth Audiences:

“Books are fine as long as the piece has some dramatic action on it. Again, I’m looking for acting ability. I would also consider looking at adult plays with young characters in them, as long as the speech has some meat on the bones.” Pablo Felices-Luna, Artistic Director, Carousel Players (St.Catharines, ON)

The biggest complaint one hears from TYA practitioners is inappropriate monologues. Take a look at the age ranges the company performs for. If it’s 3-5 year olds, ya might not want to do that David Mamet or Neil Labute monologue you’ve been dying to try out. Fit the monologue to the company.

One of the great things about Theatre for Youth Audiences is a lot of it is based on literature. One can always pull out a favorite storybook from childhood and build a monologue. TYA also tends to use a lot of wonderful theatricality – if you juggle, do acrobatics, clown work, etc this is a place to showcase it.

For a teen-based issue-company like Greenthumb Theatre in Vancouver you want a different approach. Hit their webpage and see what kinds of characters are usually brought to the company’s stage then take a look at any adult material that includes characters in the right age range.


About Jack Paterson

Jack is a Canadian director/ actor who is currently in Toronto for Canadian Stage’s BASH! Residency. He is a graduate of The Circle in the Square Theatre School in New York. Directing credits include Mad Duck’s Jessie nominated productions of Coriolanus, Titus Andronicus, Julius Caesar and The Tempest, Carousel Theatre’s The Hobbit and The Odyssey (winner Outstanding Production Jessie Richardson Award), The Bardathon’s Henry 6 Parts 2 & 3 and The Presentation House hit The Real Inspector Hound. He is the recipient of the Ray Michaels Award for Outstanding Body of Work by an Emerging Director and been nominated for four Outstanding Direction Jessie Richardson Awards.

Most recently he was the Artist in Residence at the Centaur Theatre and directed The Love of Don Perlimplin for Belisa in his Garden for the Shaw Festival’s Neil Munro Directors Project.

A tremendous thank you to all the artistic directors, directors and actors who shared their insights for this blog.

Posted on May 25, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 25 - Budgeting Continued”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 25 and Click Here to read any TOTBO Tips of the Day you missed:

To conclude 2 weeks of crew tips – a reminder that it is best to be able to pay these crew people. While sales agents should work on commission, lawyers, web designers, PMDs etc most likely will not. You should create a budget that is as detailed as a production budget. In Think Outside the Box Office I created such a budget with detailed explanation, using my budget and several others as examples. Raising the money at inception will help avoid potentially costly P&A finance rates and last in’s first out requirements. If you have a tax rebate due you, don’t bank it, use it as a large portion (or all) of your distribution and marketing budget.

Here’s a list of what you will need to include in your budget:

-Distribution Crew including those who I have discussed and whoever else you need for your specific release: bookers, publicists, community engagement consultants, social media strategists, graphic designers.

-Marketing creative and materials: including trailer, poster/key art, press kit.

-Print and other delivery materials: Various masters, authoring, replication, digital cinema files etc.

-Media buys from print to Google

-Travel expenses.

-General office supplies – especially shipping.

And anything else your release needs – the above is a very quick summary.

Let me know what you think! Follow me @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 25, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 24 - Webdesigners Part 2”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 24 and Click Here to read any TOTBO Tips of the Day you missed:

Oftentimes the best designer is not the best programmer, and vice versa. You may need two separate people: one for the look of the site (which hopefully is integrated with your key art), another to do the actual programming. If you have to choose to pay one or the other, go for the programmer. It is easier to find good designers for a reasonable rate (i.e., someone needing to build their portfolio) than programmers.

Let me know what you think! Follow me @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 20, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 23 - Webdesigners Part 1”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 23 and Click Here to read any TOTBO Tips of the Day you missed:



If you are not a technically-oriented person, you need an IT person to set up your website. Chances are they will know a lot more about search engine optimization (SEO) than you do. Ask them to set up a site that you can regularly modify on your own, so that you are not spending thousands of dollars over the course of your film’s life. If you can get a qualified person to do it for free, great — but you should be able to find someone to set up a simple site for $500 to $1,000 ($2,000 tops!). Maintain your relationship with this person so you can ask them to come back from to time to time to tweak your site (like when you want to sell DVDs, merchandise, etc.).

Let me know what you think! Follow me @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 19, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 22 - Create a Grid of Rights”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 22 and Click Here to read any TOTBO Tips of the Day you missed:

It is important that you or someone on your team keep track of who has the rights to what. Most lawyers will never have the time to do this for you. You should create a grid and track it, because it can get confusing. Orly Ravid of The Film Collaborative who handles the legal on my deals has created such a grid for the rights on Bomb It. She will be posting it on The Film Collaborative’s site soon – so stay tuned.

Let me know what you think! Follow me @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 19, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 21 - Lawyers”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 21 and Click Here to read any TOTBO Tips of the Day you missed:

A good lawyer who is familiar with split rights scenarios and the vagaries of new distribution models is essential, although hard to find. If you cannot find one, I suggest using a consultant in tandem with a lawyer. The consultant negotiates, the lawyer goes over the language. Find someone who is open to working in new ways. Lawyers will either work on a per-hour fee ($175 and up) or for a percentage of the deal(s) (5 to 7 percent). Since the field is changing so rapidly, you may have to train your lawyer regarding certain items that you will demand. One new alternative is The Film Collaborative – a non profit entity that can go over your agreements for a very reasonable fee and are very knowledgeable.

Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 19, 2010.
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Guest Post: “From Behind the Table: General Auditions Part 2C - The Interview”

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“The people you’re auditioning for want you to succeed. They are hoping that you’ll be great. They are on your side, and many of them have been through what you’re going through… After your audition, go for coffee and forget it.” Robert Metcalfe, Artistic Director, Prairie Theatre Exchange (Winnipeg)

The Interview:

So you’ve done your monologues. Your heart is pounding. Your brain is going “oh my god I hope they didn’t notice that or this” or “I hope they liked it” and everything in you is crying for you to flee the room and then somebody says “pull up a chair, tell us a little about yourself.”

Take a breath.

Remember we are here for you. This is an opportunity for you to hang out with people in the same craft as you. It’s a chance for you to get to know us as well as for us to know you. It actually can be quite fun.

Questions to be ready for:

Tell us a little about yourself…

This question is asked a lot. This is not meant to be a personal question, but a way into conversation. Think of something light that you enjoyed and are open to talking about (Have you been on a trip lately?) – if you can’t think of anything see the next question.

Are you doing anything at the moment?

If you are doing a show, then this is a great moment to share some positive things that are going on in the production. If you’re not, what classes are you taking? Side projects? or plays that you are reading that excite you? What have you seen recently that excites you?

No matter where you are in life you are always doing something that supports your craft. A reply can start something like “I’ve been taking the time to see a lot of plays lately and..” or “I’ve been concentrating on reading scripts…”.

Do you have any questions for us?

This is a chance for you to start a segment of the conversation. Truth be told, it rarely works as the actor usually just wants to get the hell out of there. If you feel up to it, try and ask something about them that interests you artistically. This is about supporting them or showing an interest in their product. It is not about sucking up.

The Big Don’t!

I hate to say it but I’ve done it, people have done it in my audition and I’ve had it done about me. For whatever reason it’s done, be it passion, fear, vulnerability, or simply being opinionated and speaking your mind, avoid saying anything negative about somebody. It is a small community and things get misunderstood – word will get around. We want to see you in your best light. Save the horror stories about the last show and the passionate discussions about theory and methods for the bar after rehearsal. This is not the place.

Leaving:

A smile, a handshake and go reward yourself.

Be confident, trust in yourself and enjoy the process.

Additional Note:

As I was working on this blog I did my 3rd audition in 3 years. Wow! Did I ever bite! Everything went wrong performance wise. I blanked, my dyslexia kicked up a storm on the reading portion and my nerves were having a field day. The interview however was fantastic. I reconnected with 2 directors who I had met previously who also share a passion for Shakespeare and a playwright I haven’t seen in years. I left with 2 cards in my pocket and had a wonderful time.



About Jack Paterson

Jack is a Canadian director/ actor who is currently in Toronto for Canadian Stage’s BASH! Residency. He is a graduate of The Circle in the Square Theatre School in New York. Directing credits include Mad Duck’s Jessie nominated productions of Coriolanus, Titus Andronicus, Julius Caesar and The Tempest, Carousel Theatre’s The Hobbit and The Odyssey (winner Outstanding Production Jessie Richardson Award), The Bardathon’s Henry 6 Parts 2 & 3 and The Presentation House hit The Real Inspector Hound. He is the recipient of the Ray Michaels Award for Outstanding Body of Work by an Emerging Director and been nominated for four Outstanding Direction Jessie Richardson Awards.

Most recently he was the Artist in Residence at the Centaur Theatre and directed The Love of Don Perlimplin for Belisa in his Garden for the Shaw Festival’s Neil Munro Directors Project.

A tremendous thank you to all the artistic directors, directors and actors who shared their insights for this blog.

Posted on May 18, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 20 - Television Sales Reps”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 20 and Click Here to read any TOTBO Tips of the Day you missed:

Television is a market that is hard to monetize if you DIY. You should get yourself a TV sales agent if you can. These agents/reps deal with television buyers all the time; they also go to specific television sales markets throughout the world.

Like foreign sales reps, foreign television sales reps typically take 25 percent of the sale as a fee, less expenses. Make sure you limit the foreign or TV rep’s expenses in your agreement. At most, you should be paying a percentage of their market expenses (split with the other films they represent on a proportional basis). At best, you should not be required to reimburse them for market expenses, since they attend these markets with a large slate of films.

Posted on May 18, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 19 - Foreign Sales Reps”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 19 and Click Here to read any TOTBO Tips of the Day you missed:

These are reps/agents that are relatively established in the split rights world and specialize in the sales of foreign rights. Generally they take a higher percentage (25 percent) than producer’s reps for domestic deals and many of them charge expenses as well. However, it is much harder to get a foreign sales advance because overall deals in foreign territories are diminishing, just like overall deals in the United States. The reasons for this decline in overall deals are the same as well. Television sales however remain the strongest of the traditional rights sales in foreign territories. Tomorrow we will address television sales reps.

Join me in Cannes on May 15th at the Producer’s Network Breakfast at 9am and on May 16th where Liz Rosenthal and I will be doing a presentation at the Short Film Corner from 4pm to 5pm. Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 13, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 18 - Don't Despair”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 18 and Click Here to read any TOTBO Tips of the Day you missed:

Since sales reps generally work on commission, they will be choosier about the films that they select. Hence more and more films will end up not being represented by a sales rep or will not have a sales rep for each right. So don’t despair if you don’t have one. If a sales rep is helping you obtain and negotiate split rights deals, they are helpful, but you can function without them. If a sales rep requests a large up front fee to represent your film, I strongly recommend doing your research before paying large up front fees to a representative. You must talk to filmmakers the rep has worked with to make sure that it was worth it.

Join me in Cannes on May 15th at the Producer’s Network Breakfast at 9am and on May 16th where Liz Rosenthal and I will be doing a presentation at the Short Film Corner from 4pm to 5pm. Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 13, 2010.
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Guest Post: “From Behind the Table: General Auditions Part 2B - The Interview”

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“Choose a monologue you really, really know and can inhabit with complete ease. Know what kind of play the company is likely to be doing and perhaps try to choose something that will interest them…you are not auditioning for a role, but for the chance to audition for a role.” John Wright, Artistic Director, Blackbird Theatre (Vancouver)

Presentation:

• What to wear?

Some auditioners won’t care about this, however those that do will quite strongly. Clothing is our first experience of you. Better to take the time to make a positive first impression than a negative one.

Dress nicely. Put a little effort in to it. Wear something comfortable that makes you feel good and is suitable for the pieces you are doing (there is nothing worse than getting flashed during a monologue. You may have been brilliant but that’s all we remember). Save the track pants and T shirts for rehearsal.

• Warm up

Take the time to stretch and do a vocal warm up before heading out. Just like going on stage, you are entering a stressful situation and want to be as relaxed, available and on your voice as possible.

The Audition:

• Show up!

As actors, we will find all kinds of reasons not to show up. I certainly did it early in my career. The thing is – it will be remembered. The theatre community is also small enough that it may be remembered for a long time. Time and effort has been put into who received audition slots, and the people preparing the auditions are giving you an opportunity – other people did not get a slot. A no show will also affect the entire day’s scheduling. If there is a real emergency or a valid reason not to be there, then call.

• Arrival and Signing in

Show up early and sign in. Make sure you give yourself enough time to deal with traffic, transit etc. If you come rushing into the audition in a panic – you are not going to be at your best during the performance. By showing up early you have time to put on your game face and find a positive place to be in before entering the room. Different people have different ways for this. I know an actor who plays a character at auditions – the character happens to be an awful lot like himself in a good mood. Some people meditate, some people work their stuff and others just hang out and talk. Find what is right for you and respect other people’s processes.

It’s alright to be nervous, most of us on both sides of the table are, be ok with where you are at.

If you are asked to go during an earlier slot and are not ready yet, it’s perfectly normal to ask to wait for your time.

When signing in, be polite to the staff. They maybe anyone from family members of the AD, Board Member’s volunteering or the company General Manager and, guaranteed, they will be having a beer with the AD afterward. They are working hard to help make the auditions run smoothly and may have a lot on their plate.

• Patience

There are a lot of people to be seen and despite all the best efforts on everybody’s side auditions often fall behind. Please be patient with us. We are doing the best we can. If you are booking time off work, it’s best to add an hour after your time slot. You don’t need the extra stress and hey, if the time ends up being free, treat yourself to a cappuccino.

About Jack Paterson

Jack is a Canadian director/ actor who is currently in Toronto for Canadian Stage’s BASH! Residency. He is a graduate of The Circle in the Square Theatre School in New York. Directing credits include Mad Duck’s Jessie nominated productions of Coriolanus, Titus Andronicus, Julius Caesar and The Tempest, Carousel Theatre’s The Hobbit and The Odyssey (winner Outstanding Production Jessie Richardson Award), The Bardathon’s Henry 6 Parts 2 & 3 and The Presentation House hit The Real Inspector Hound. He is the recipient of the Ray Michaels Award for Outstanding Body of Work by an Emerging Director and been nominated for four Outstanding Direction Jessie Richardson Awards.

Most recently he was the Artist in Residence at the Centaur Theatre and directed The Love of Don Perlimplin for Belisa in his Garden for the Shaw Festival’s Neil Munro Directors Project.

A tremendous thank you to all the artistic directors, directors and actors who shared their insights for this blog.

Posted on May 11, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 17 - Before Bringing on Principal Crew”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 17 and Click Here to read any TOTBO Tips of the Day you missed:

If you have one or more sales representatives interested in your film, certainly talk to them. But have your distribution and marketing strategy ready before even talking to sales reps, then present it to them to determine to see whether or not they feel that they can help implement that strategy. This is so that you can put their recommendations into context for your film. Remember, your strategy will evolve, so at least have the first draft before you take these meetings. In general you should go to any meeting with the following:

1. Knowing what you want from the meeting or person.

2. Having researched the person you are meeting with so that you know what they want, or can provide for you.

Leaving for Amsterdam tomorrow. Then to Cannes. Check out the TOTBO site for more information. Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 11, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 16 - Producer’s Reps Pt 1”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 16 and Click Here to read any TOTBO Tips of the Day you missed:

In honor of the upcoming Cannes Film Festival – I will take this opportunity to explore other crew people that you might want to engage on your film and whether or not they are right for your project. There are several types of sales representatives/sales agents. Today the topic is Producer’s Representatives. A classic sales representative or producer’s representative, as has been known to the independent film world for the past 20-30 years, is someone who will broker your film to the various distribution entities, generally in search of an overall deal. The main advantage of sales reps is their relationships with the various companies that buy films, from full-service distributors to DVD companies to cable companies, etc. In the old model, it was almost taken for granted that an unsold independent film would engage a sales rep. Not anymore. Whether or not to engage a sales rep is one of the first decisions you need to make in the execution of your overall distribution strategy.

The London TOTBO Workshop went amazingly well. Onto Amsterdam this week. Then to Cannes. Check out the TOTBO site for more information. Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book and workshops here. I look forward to hearing from you.

Posted on May 11, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 15 - Hiring PMDs in these early days”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 15 and Click Here to read any TOTBO Tips of the Day you missed:

I look forward to a near future in which filmmakers/directors will be able to put out calls for PMDs just as they do for DPs and Editors – and that they will get an equal volume of applications. Directors will develop long term relationships with PMDs that “get them” just as they do with DPs, Editors, and Producers etc.

The most natural PMDs initially will be from the ranks of unit publicists and social media strategists. They already have many of the skill sets needed to do this work. If you can’t hire one full time, you should at least have them consulting and advising on the project.

But there is a lot of work to be done and even if you have a PMD they will need help. Don’t just bemoan the fact that you are in distribution and all your producers have had to go onto other work (if that is the case). Go out and get some more producers involved in the project. Again if you have limited means get a social media strategist and perhaps a distribution consultant to advise you and your new distribution and marketing team on how do this right. If you have limited means, you can offer some kind of producer credit in exchange for money – just as you did on the rest of your film(I know in the future you will properly budget for this work).

Two of the Co-Producers on Bomb It started working on the film six months after we premiered the film at Tribeca. I couldn’t get them on the credits of the film – but they are on the credits of the PAL DVD, and I will back up their credit on IMDB and in references any day – and that is ultimately what matters – a verifiable credit to someone coming up.

Posted on May 10, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 14 - Responsibilities of the PMD”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 14 and Click Here to read any TOTBO Tips of the Day you missed:

Responsibilities of the PMD include:

1. Identify and engage with the audience for a film.
2. Development of a distribution and marketing strategy and plan for a film in conjunction with the entire team.
3. Create a budget for said plan.
4. Assemble and supervise the necessary team/crew elements to carry out the plan.
5. Audience outreach through organizations, blogs, social networking, online radio etc.
6. Supervise the creation of promotional and (if necessary due to the lack of a separate transmedia coordinator) transmedia elements: including the films website script and concept for transmedia, production stills, video assets – both behind the scenes and trans media, promotional copy and art.
7. Outreach to potential distribution and marketing partners such as sponsors, promotional partners, various distribution entities, publicists.
8. When appropriate, engage the distribution process as designed.
9. Supervise the creation of deliverables.

My workshops start this week in London and next week in Amsterdam. Check out the TOTBO site for more information. Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.

Posted on May 7, 2010.
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Guest Post: “From Behind the Table: General Auditions Part 2A - The Interview”

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“Generally, I just really enjoy it when actors come in with a positive attitude and are excited to share their work with us. That makes it a pleasure to audition them and a good experience for us as well…if actors are relaxed and are able to share who they are with us, the chances of us using them is much better.” Mieko Ouchi, Artistic Director, Concrete Theatre (Edmonton)

An audition is a job interview that happens to a have a 4 minute solo show on a 4 foot by 4 foot stage in the middle of it. It took me years to come to this realization, in fact I faintly remember somebody in theatre school saying this and being outraged by it, but after many, many mistakes, experiencing both sides of the table for large and small companies and doing everything from invited auditions to New York cattle calls, it suddenly seems simple – We want to meet you in your best light. Easy to say but not necessarily easy to do.

So – how can we help you shine?


The more comfortable you are with all the little things around the performance portion the better your chance to enjoy the audition and then the interview process. For that reason I’m focusing on the interview aspect. This is something we often overlook in our panic to find the right monologue and be the best actor we can be (and god, how we really, really want the job), however it is just as important and sometimes more so. I have yet to meet a Director or Artistic Director (AD) who believes that the monologue is the best way to cast a show. Most of us behind the table have been in your position, and are well aware of the difficulties involved for the performer.

We try as hard as we can in theatre to make it seem as less “job-interview-y” as possible, but the truth remains that that is indeed what it is. All things important to a regular job interview are just as important in an audition. Who is this person and can we work with them? This begins the minute you enter the room. We try not to judge but human beings are human beings.

As a new actor this is a chance to make a strong first impression or as someone who has been around for a bit it’s a chance to reconnect and put yourself out there in a fresh light.

Preparation:

• Information to know:

More you know about the company and their season the better. This will help not only in your monologue choice but also offer you something to talk about during the interview. Take the hour or two to google the company; be familiar with the company’s season and mandate (if that information isn’t readily available check out their previous season). Is there a play, playwright or author there that you really enjoy? What about the mandate excites you?

It’s not enough to simply want to pay the rent by practicing your craft – we all want that. Those of us behind the table are passionate about our work; we wouldn’t be doing it otherwise, and are looking for people who share in that passion.

Read the plays if you can. A lot of companies will have the scripts available at the local reference library. Get down there and read ‘em. Again same question – what excites you about them?

• Your Resume:

Give your resume a scan – look at the last few gigs. Think of some positive experience that you had on those projects. Many directors will use questions about previous shows in an attempt to lighten the atmosphere and get to know you. How did you like working with “insert name or company”? These will usually be pulled from the last few credits on the resume. If you are fresh out of school, think of a few positive things about the program to talk about.

• Special Skills:

If you have any special skills – singing, dancing or musical instruments, etc – be prepared to showcase them. Have something in the bag ready to go. There is a strong chance you will be asked to demonstrate even if it was not put on the posting. Artistic Directors and Directors are always on the lookout for extra skills.

I once watched a Theatre for Young Audience AD in Vancouver grin from ear to ear as an auditionee made her an animal balloon (after two days in the audition room, it was a treat). Another auditionee in Montreal worked street dancing into his monologue and received cheers for his effort. They made a mark.

• Things to bring:

Always bring a couple extra headshot and resumes. Have them out of your bag and ready to be passed out. Make sure they are stapled (one in the top corner will do), paper clipped or double side taped. The amount of paper flowing over the table is sometimes overwhelming. Have pity on us and make it easy. We don’t want to loose your stuff in the maelstrom.

About Jack Paterson

Jack is a Canadian director/ actor who is currently in Toronto for Canadian Stage’s BASH! Residency. He is a graduate of The Circle in the Square Theatre School in New York. Directing credits include Mad Duck’s Jessie nominated productions of Coriolanus, Titus Andronicus, Julius Caesar and The Tempest, Carousel Theatre’s The Hobbit and The Odyssey (winner Outstanding Production Jessie Richardson Award), The Bardathon’s Henry 6 Parts 2 & 3 and The Presentation House hit The Real Inspector Hound. He is the recipient of the Ray Michaels Award for Outstanding Body of Work by an Emerging Director and been nominated for four Outstanding Direction Jessie Richardson Awards.

Most recently he was the Artist in Residence at the Centaur Theatre and directed The Love of Don Perlimplin for Belisa in his Garden for the Shaw Festival’s Neil Munro Directors Project.

A tremendous thank you to all the artistic directors, directors and actors who shared their insights for this blog.

Posted on May 5, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 13 - Introducing the Producer of Marketing and Distribution or PMD”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 13 and Click Here to read any TOTBO Tips of the Day you missed:

As a filmmaker, I have thought a lot about complaints from filmmakers of all these new tasks that we are responsible for in distribution and marketing. And this is how I came up with the concept of the Producer of Marketing and Distribution or PMD. Just like you most likely did not make the film on your own, you should not be distributing and marketing the film on your own. I would argue that from now on, every film needs one person devoted to the distribution and marketing of the film from inception, just as they have a line producer, assistant director, or editor. I gave this crew position the official title of PMD since we need to train people to do this task, give classes in it, write books about it, just as people are educated (or learn on their own) to become DPs.

My workshops start this week in London and next week in Amsterdam. Check out the TOTBO site for more information. Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.

Posted on May 5, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 12 - The New 50/50”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 12 and Click Here to read any TOTBO Tips of the Day you missed:

Distribution and marketing can take as long and cost as much, or more than you spent on your film. The new 50/50 is not a revenue split but the mental shift that filmmakers must make about the filmmaking process. This is not a hard and fast rule, remember all films are unique. It is essential to match the budget of your release to the kind of film that it is, your goals, and where it fits in your career. As budgets go up the proportion might be less, but it is a good guideline when embarking on a project. It is far better to have $50,000 to release a $50,000 film than to make a $100,000 film with no way of getting it to an audience.

My workshops start this week in London and next week in Amsterdam. Check out the TOTBO site for more information. Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.

Posted on May 4, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 11 - Developing Organizational Relationships”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 11 and Click Here to read any TOTBO Tips of the Day you missed:

Last week I spoke about connecting with audience, creating a dynamic website and blogging. Today’s tip is how to create relationships between your film organizations that should be interested in your film. This is an especially useful strategy for documentaries that naturally have a wide range of potential issue-oriented sites to connect to. But with a little outside-the-box thinking you can probably find relevant sites for your narrative film as well.

Ways to create a relationship with other sites/organizations:

1. Blog about their sites and link to them.
2. Request that they link back to you.
3. Send them your film and ask them to blog about the film and/or review it. (This also helps your search engine rankings — search engines will improve the rankings of sites that other sites not only link to but also write about.)
4. Go one step further: Create an affiliate relationship with those sites or organizations.
5. Use this relationship to generate community screenings.

My workshops start this week in London and next week in Amsterdam. Check out the TOTBO site for more information. Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.

Posted on May 3, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 10 - Blog”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 10 and Click Here to read any TOTBO Tips of the Day you missed:

Blogging helps in two ways: First, it drives traffic to your site as you link to new and interesting stories that are related to the subject of your film (For Bomb It, we post news about graffiti around the world.) And second, your blogging activity will help your site’s SEO (search engine optimization). This will result in higher search rankings for your film in relevant categories. What to blog about? Of course you should blog about your film, your filmmaking experiences and your screenings, but you should also consider blogging about subjects that relate to your film and your film’s audience. This will make your project relevant to them on a broader level and keep them coming back to your site. One simple way to come up with information to blog about is to use Google Alerts. We received a weekly Google Alert about “graffiti” and “street art” and select a few top articles to blog about.

I want to know what you think! Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.

Posted on April 30, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 9 - Create a Dynamic Website”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 9 and Click Here to read any TOTBO Tips of the Day you missed:

Create a dynamic web site and do it long before your film is done. Old-style film web sites are out — blogging and a constant flow of information are in. Blogging and tagging is what the little bots out in cyberspace will recognize and bring you up in the rankings. Thanks to my wonderful friend and web site savior Michael Medaglia and a lot of great blogging by producer Tracy Wares, we were near the top of Google search on “graffiti documentary” even before our world premiere at Tribeca. A great web site also helps you cultivate your niche audience and further allows the theatrical to fuel your DVD release.

I want to know what you think! Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.

Posted on April 30, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 8 - Engage Organizations to Promote Your Film”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 8 and Click Here to read any TOTBO Tips of the Day you missed:

Step 2 of Audience Engagement is: Know WHERE your audience derives information/congregates.

Many niche’s have organizations that support those specific topics and interests. Engage those organizations early in your filmmaking process (as early as conception and prep). It is important to have the proper attitude toward your audience and these organizations. You need to think, “What can I give them?” instead of “What can they do for me?” If you think of the former, the latter will flow. People are very busy. You need to give them an incentive to be involved with you. The film is not enough. How will the film service their organization, their lives and the lives of their members? In turn, they will help you promote your film to your direct audience. This has been used by great effect by documentary filmmakers. Narrative filmmakers need to follow their lead.

Posted on April 28, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 7 - Differentiating Core and Niche Audiences”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 7 and Click Here to read any TOTBO Tips of the Day you missed:

The terms Core and Niche are often used interchangeably and this is a mistake. The niche audience for your film is that slice of the population that has a particular interest in your film or an aspect of your film. The core audience for your film is those people within each niche that are your most ardent supporters. Those people who will spread the word about your film to not only their networks, but to the rest of that niche. You can have multiple niches’ that are interested in your film, and within each niche there is a core who combined adds up to the core of your film.

I want to know what you think! Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.

Posted on April 27, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 6 - Identifying and Engaging Your Audience”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 6 and Click Here to read any TOTBO Tips of the Day you missed:

Here is the Jon Reiss TOTBO three step approach to audience development and engagement:

1. Know WHO your audience is. This is not 18-25 year old boys/men. Or 35 – 55 year old women. As an independent filmmaker, if you cross over into a mass audience great – but you need to be much more specific. Tomorrow’s tip will discuss niche vs core audiences.

2. Know WHERE your audience derives information/congregates. In other words how you can contact them, engage them, communicate with them.

3. Know HOW your audience engages media, or HOW they will support you.

I want to know what you think! Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.

P.S. I was going to address budgeting this week, but I have shifted that topic to next week.

Posted on April 26, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 5 - Budget for Distribution and Marketing”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 5 and Click Here to read any TOTBO Tips of the Day you missed:

In order to successfully execute a marketing plan for your film, a budget must be developed in tandem with your production budget. This is not an optional expense to be decided at the end of post production. A marketing and distribution budget is a tool that balances what needs to be spent against what can be afforded, and helps make choices about which methods will be priorities and which ones cannot be implemented due to cost. A well analyzed, affordable budget will help to focus achievable marketing efforts without wasting time and money. Doing this will also make it seem that you have a sense of how you are going to make your investors money back (and that you care).

Next weeks tips will expand on this topic – to help you navigate this process.

Posted on April 23, 2010.
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Guest Post: Lindsay Nahmiache discusses the Projecting Change Film Festival

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For the second year in a row, Biz Books is proud to support the Projecting Change Film Festival, which runs until Sunday, April 24th, 2010. We asked the co-founder of the festival, Lindsay Nahmiache, to share her thoughts on this year’s festival on the Biz Books blog!

We can’t believe it’s been three years already.. The 3rd Annual Projecting Change Film Festival is Vancouver’s only film festival focusing on social and environmental issues and it takes place until April 25th at Fifth Avenue Cinemas. It’s a tribute to the fact that passion can move mountains and you don’t have to be big to make an impact. After last year’s record breaking attendance, sold out shows (every night) and VIP guests, this year’s festival is set to break even more records.

David Suzuki is coming back to speak again along side Captain Paul Watson (a.k.a. the pirate for the sea)… we also have a ton of filmmakers, world premieres and great parties!

In recognition of the support by Biz Books, we invite all of your customers to receive a special discount.

See you at the party!

Lindsay Nahmiache – Co-Founder

Thanks, Lindsay! Learn more about this year’s festival at projectingchange.ca

Posted on April 23, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 4 - Setting Marketing Strategy”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 4 and Click Here to read any TOTBO Tips of the Day you missed:

Two helpful ways to think about marketing: 1) Reaching the audience that already exists for your film and 2) thinking creatively of what audiences might be interested in your film.


I recommend that you consider and conceive of a marketing strategy for your film early in the production process, even at inception. Who is its audience? How are you best going to reach them? Are there particular blogs, organizations, print media that they subscribe to? Who will you bring on to help you outreach to your audience? How does this audience consume media? Answering these questions will help to fashion your release strategy.

Posted on April 22, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 3 - Know Your Goals”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 3 and Click Here to read any TOTBO Tips of the Day you missed:

I cannot stress this enough. I cannot repeat this enough. There are multiple goals that you can strive for in the release of your film. You must prioritize what is most important to you. I categorize the goals for the distribution and marketing of your film into the following five (with a sub goal number 6):

1. Money
2. Career launch, help for your next project, fame.
3. Audience/eyeballs to see the film
4. To have an impact on the world
5. A long term sustainable connection with a fan base.
6. A green release.

Choices that you make in service of one goal will often sacrifice another goal. For instance releasing your film for free on the internet might get you the most eyeballs, but it won’t help you monetize the film.

You must make sure that everyone on your team is on the same page and don’t have conflicting goals. At the Slamdance Filmmaker Summit, I gave homework to two sets of filmmakers with whom I did a live speed consult*. While Hunter Weeks, a very savvy filmmaker, had known for some time his goal for his current film Ride the Divide was to help him get another film made, what he didn’t know until that night was his goal was different from his producer Mike Dion which was to make money to return the investment for his investors. These goals are two that are traditionally in direct conflict (career launch normally associated with some form of traditional theatrical which in turn is usually a money drain).

What do you think?

*I had so much fun doing these speed consults that they have become an integral part of nearly all of the workshops I conduct. The first day of the workshops is a presentation of the principles of the new techniques of distribution and marketing from a very practical perspective. The second day is primarily limited to 20 films/projects and I do 20-30 minutes speed consult on each – with all the other teams present so that they can learn from each other.

Posted on April 21, 2010.
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Guest Post: “Jon Reiss’ TOTBO Tip of the Day 2 - Every Film is Different”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day.

Here is Day 2 and Click Here to read any TOTBO Tips of the Day you missed:

Each film is unique and requires its own individual distribution and marketing strategy. A comedy about stoners will not have the same audience as a documentary about AIDS orphans in Tanzania. Similarly each filmmaker has a different set of goals, needs, and resources. While the studio one size fits all model worked well for some independent films over the last 20 years – it was a disaster for others. With the new hybrid model of distribution you can craft a distribution and marketing strategy that makes the most sense for your film. You have a unique vision. Use that vision to engage your audience in a unique manner. This will help separate you from the media noise that surrounds us every day.

What do you think?

Posted on April 20, 2010.
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Guest Post: “The Launch of Jon Reiss' TOTBO Tips of the Day”

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In anticipation of hosting Jon Reiss’ workshop in Vancouver this June, we at Biz Books are happy to share with you his TOTBO Tips of the Day:

Many of you might know me from the book that I have written recently, Think Outside the Box Office (TOTBO for short). The primary reason that I wrote it was to share what I had learned while distributing my film Bomb It with other filmmakers so they could learn from my successes and mistakes. In the continuation of that mission I am launching two more initiatives – both in support of how people want to interact with this information. The first is a series of workshops around the world. It seems that the live experience is as important as the written word in imparting this information for many people. We are starting with London on May 8/9, Amsterdam on the 12/13, New York on June 5, Vancouver on June 12/13, San Francisco July 31/Aug1 with more being lined up.

The second initiative is the launching of a TOTBO Tip of the Day. This will soon be joined by Resource of the Day. In these tips, I will give not only a sense of what’s in the book and workshop, but they will be a forum to convey new tips to you as I learn them.

I want to know what you think! Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. I look forward to hearing from you.

Posted on April 20, 2010.
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Guest Post: "The Shorts Report"

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When Biz Books asked The Shorts Report to bloggity blog up their site, it occurred to this Shorts Reporter that the timing couldn’t be more perfect. Afterall, it was just a year ago that The Shorts Report was born.

My name is Kellie Ann Benz and in 2008 I made my third short film, Awkward. I made Awkward with my own money, knowing it wasn’t government funding-attractive. When it started getting into festivals from Quebec to England, I knew it was money was well spent. Then it got invited to the prestigious Clermont-Ferrand International Short Film Festival in France. Boo-ya!

There I was in France, at the Cannes of short film festivals – one of only 3 other English language Canadian films – representin’ for my county at home. Unlike North America, France treats the short film as a marketable entity. Their eight day long festival and five day long market energetically reflected the international fervour for quality short films.

My favourite little medium which on my continent is treated like a training vehicle was, in France, a career worthy master craft that people could make a living from.

I returned home with a fire for short films burning so bright in my belly that no amount of apathy could douse it. Taking a gander around I noticed that we here in Canada spend millions every year on the production of short films, yet we still treat the medium like its practise.

The first of April 2009, The Shorts Report went live. My main focus was on Canadian made short films and the festivals in Canada that were programming them. The benefit of being your own publisher is you can jump at news other outlets are ignoring. Within months I was signed up for more newsletters, newsfeeds, site subscriptions and blogs than I’d ever even known existed.

By August, the sweet order of Festivals in Canada – Montreal in August, Toronto in September, Vancouver in October – bore coverage that begged for a title. Festada became the umbrella under which all announcements of programmed Canadian shorts came out one after the other. This allowed a quick reference for which films were accepting multiple invitations.

Shorts films Dance Macabre, (now a Genie Nominee), The Armoire, Chili & Cheese: A Condiment Rift, La Vie Commence, Out in the Deep Blue Sea, Runaway, The Spine, Ten for Grandpa, Funky Prairie Boy joined Awkward on the festival circuit on a pretty regular basis.

By August, I was lucky enough to be invited by Sandy Gow at the Vancouver International Film Festival to help program their return to International shorts, and to moderate a lively panel at their trade forum regarding the medium. Nate Weinstein from Youtube and Tina Santamauro from NY’s Atom.com joined the conversation about the future of online distribution.

By November, the National Screen Institute showed their generosity by ordering up a monthly column about the medium of short films.

It seemed the little medium was starting to be heard.

Despite my many posts about funding sources, web series and distribution, the most popular posts remain the festival programming announcements. No surprise, as getting that letter is akin to being invited into a coveted club. You’re special, you’re unique and we want you.

As the year comes around the bend, I can tell you now that The Shorts Report will remain in place for as long as I can keep running it. A sponsor would be lovely, but until the right one comes along, I’ll keep the integrity of the site alive.

So thank you Biz Books for giving this Shorts Reporter a chance to reflect on this last first year, a year that has been worth every single second!

Posted on March 30, 2010.
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Guest Post: “From Behind the Table: General Auditions Part 1”

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I recently had the unique opportunity to attend the General Auditions organized by the Quebec Drama Federation. The room was a combination of Montreal and Quebec’s Artistic Directors from both the Regional Theatres including Roy Surette (The Centaur Theatre), Bryna Wasserman (The Segal Center), Andrew Johnston(Hudson Village Theatre) and other local companies Emma Tibaldo (Playwright’s Workshop Montreal), Clare Schapiro (Imago Theatre), a mix ranging from Theatre for Young Audiences Dean Fleming (Geordie Productions) to the indie Fringe scene Jeremy Hechtman (MainLine Theatre)and several freelance directors. What made this event so distinctive for me was that I was both an auditor in my role as artist in residence at the Centaur Theatre and an auditioner as my recent experiences at the Shaw Festival’s Director’s Project had inspired me to hit the boards again. It had been over three years since I done an audition and although I have sat on directors side of the table many times and often coached for auditions, all the old questions, concerns and terrors returned. This was an opportunity to observe the AD’s at work as well as the actors and get up there myself. My goal over the next few blogs is to share what I’ve learned through that process. Part 1 will address General Auditions and what they are. Part 2 will be about Preparation and Part 3 will be about the Monologues themselves.

What is a General Audition?

Canadian Actor’s Equity Association (CAEA) and the Professional Association of Canadian Theatres (PACT) have agreed that PACT members will hold at least one General Audition a year in order to review available talent. These auditions will be attended by the Artistic Director or another senior representative of the theatre who works in a casting capacity. Each year, all professional companies do just that. Companies producing more than one show a season are required to hold 2 days for CAEA Member and Apprentice auditions; they also will do 1 day of non equity auditions. You should never have to pay for an audition.

How do I get one?

Notices are posted on the CAEA Email for Equity calls. Non Equity Notices tend to be posted on through local Arts organizations such as The Alliance for Arts and Culture and VPL in Vancouver, QDF in Montreal or Toronto Alliance for the Performing Arts in Toronto.

Submit a headshot, resume and cover letter. The cover letter doesn’t have to be long. It can be a short paragraph or two on why you want to work for the organization. Make it about them and why you would be a good fit for them (Why are you passionate about their material, season or mandate?). Some organizations will accept email, while others will expect mailed packages.

Why Should I do it? Or “To General or Not To General”?

Yes! Do it! There is nothing to lose and everything to gain. Remember that Artistic Directors and directors are human and as much as we may wish to be omnipotent, we’re not and in fact have very minimal brain space due to all the things we are juggling. Even if you and I have been friends for years and worked together on many shows, I just might not have thought of you for a part. Any opportunity to remind us of you, showcase yourself or demonstrate a side to you we may not have thought of should be taken advantage of. If you are new to the scene – get out there and make yourself known.

Generals are an opportunity for AD’s and directors to be reminded of the current talent and introduced to new talent. Many companies will already have their leads cast for the season and may only be casting the smaller roles; however that is not always the case (one company I have worked for actually makes a point of casting roles from the generals). Think of the audition as a long term investment: you may not get a part now, but this opens the door for down the road.

That being said…be prepared and rock our socks off!

What happens if I don’t get a Slot? Or “To Crash or Not to Crash”?

Some people are to going to hate me for this but again – Yes! Do it! There is nothing to lose and everything to gain! Most companies will have a waiting list – get on it. Show up early, early slots are unfortunately quite often missed and there may be a chance to slip in. Also you have to be twice as prepared. You may not have been called because the AD knows your work and is trying to see as many new people in a limited time or because they don’t feel you are right for their season or projects (this is never a reflection on your talent or skills, simply the mindset of the individuals doing the casting – do not take it personally – it isn’t). The people organizing the Auditions have been running around for weeks trying to sort everything out so be prepared to wait and go by their schedule, you may be there a while (I always bring a novel). They may turn you away – again this isn’t personal. If you get in, and most companies will try and get you in, show us the passion that made you take the risk to come down in the first place despite not being given an audition time.

Behind the table:

The people behind the table are not the enemy. They want you to do well. They have been sitting there sometimes for days in uncomfortable chairs, drinking too much coffee and ignoring the fires that are going off at their offices. They are here for you and want you to succeed. Depending on your call time they may have trouble showing it, but no one wants you to do badly. As shocking as it may seem, we are your friends and equals.

Most importantly, this is your opportunity. It is your chance to do a four minute play of material you want to do. Do it for you and allow yourself to shine.

“I never expect anyone to be brilliant in an audition. It is almost an impossibility. Was anyone ever brilliant while acting with a chair? What I do hope to find is someone who seems capable and someone with whom I might want to spend four weeks in a rehearsal hall”

- Michael Shamata, Artistic Director, The Belfry Theatre, Victoria, BC

About Jack Paterson

Jack is a Canadian actor and director who is currently exploring Toronto. He is a graduate of The Circle in the Square Theatre School in New York. Directing credits include Carousel Theatre’s The Hobbit and The Odyssey (winner Outstanding Production Jessie Richardson Award 2007), MD Theatre’s Shakespeare’s R&J, Mad Duck’s Titus Andronicus, Julius Caesar, The Tempest, The Bardathon’s Henry 6 Parts 2 & 3 and The Presentation House hit The Real Inspector Hound. He is the recipient of the Ray Michaels Award for Outstanding Body of Work by an Emerging Director and been nominated for four Outstanding Direction Jessie Richardson Awards.
Most recently he was the artist in residence at the Centaur Theatre and directed The Love of Don Perlimplin for Belissa in his Garden for the Shaw Festival’s Directors Project.

A tremendous thank you to all the artistic directors, directors and actors who shared their insights for this blog.

Be sure to visit Jack’s webpage: http://www3.telus.net/john_paterson

Posted on February 3, 2010.
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